Tag: album review

Wax Idols – Discipline & Desire

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wax-idols-discipline-and-desireRating: ★★★★☆

If you’re looking for a repeat of Wax Idols last record, No Future, then you should probably take a second to reflect before you press play.  There are hints, though slight, of the band of old, but Hether Fortune and her band mates have come to give you something entirely new with Discipline & Desire; it’s refreshing to see a group push themselves, no matter what the risks.

“Stare Back” immediately puts you on your back foot, opening with discordant noise and a bubbling post-punk bass line.  Fortune soon enters with an echoing wail.  The repetition of “stare back” is met each time with an emphatic drum hit.  Swirling vocals come in and out of the foreground, but what’s most noticeable is the tracks exploration into a noisier punk realm.  But, just because Wax Idols have opted for a heavier-handed approach doesn’t mean there aren’t inherent pop hooks, which you’ll find immediately following the album’s opener on “Sound of a Void.”  Personally, I love the way the guitar parts work together, weaving a pristine pop hook between the distorted wall of guitar noise.  Also, the driving delivery of the vocals approached the anthemic attitude that was present on past efforts.  They keep that attitude up with “When It Happens” by using perfectly placed backing vocals, which balance Ms. Fortune’s guttural singing.  Three songs in and you can see that despite a darker approach, there’s still a knack for infectious tunes.

I think the biggest success of Discipline & Desire is the group’s ability to travel back and forth between approachable pop and discordant post-punk.  The perfect song for that hypothesis is “Ad Re Ian,” which really lives in both worlds.  The verses are possibly some of the most accessible and poppy moments Fortune has put together under the Wax Idols moniker, but the choruses represent the band knack for blasting off into dangerous punk jams.  Still, holding through it all is this faint dreamy vocal that supersedes every established notion; it’s probably one of my favorite moments on the record.

But, if I had to pick a favorite to claim as my own, I think I’m going to stick with “Elegua.”  It’s the closest thing to a ballad that lives on Discipline & Desire; I think if also demonstrates the vocal qualities of Hether, which people often overlook.  There’s a gentle quality to her delivery, almost a whisper at times, that fits perfectly with the haunting meandering of the guitar, constantly being accentuated by firing of snare hits.  About 2.5 minutes in, the song continues to forge its own path, pushing towards a swirling closing that  really encapsulates the idea that the Wax Idols have continued to push themselves in every aspect of their sound.

In my mind, it would have been really easy for Wax Idols to retrace their steps from No Future, which I consider a great record, although having spent weeks with this new effort, I’m glad they didn’t go that route.  Discipline & Desire definitely darkens the mood at time, but the group’s ability to explore their own sound has left us, the listeners, with so much to be grateful for.  It’s angry, sometimes ferocious even, but it also has a softer underbelly that will allow this album to sink deep into your heart.

[audio:https://austintownhall.com/wp-content/uploads/2013/03/03-When-It-Happens.mp3]

 

 

Colleen Green – Sock It to Me

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ColleenGreen_LP1Rating: ★★½☆☆

It seems like girl pop and grungy lo-fi are some of the hippest genres at this stage of the musical world, so Colleen Green really fits the bill. Sock It To Me combines both the grittiness of lo-fi records as well as the lyricism of typical teenage girly pop all in one neat and concise package of a 10 track, 34 minute record.

At first, it may not seem to be a record that really grabs you. On the first track “Only One,” everything is there to love, but the sound may come across as a bit intangible and far away due to the synthesized backing drums, the high pitched ultimate girl vocals of Green herself, and fairly monotonous gritty guitar. The song comes across as a younger band trying to pass itself off as older. However, after the first track is out of the way, you’ll find it easier to get to know and enjoy Sock It To Me, as “Time In the World” goes along with a more youthful, bouncy vibe that suits Colleen Green better. Most of the other tracks from here on out follow this trend, which works fairly well for Green.

The album moves right along, bouncing from gritty minimalist pop track to gritty minimalist pop track, one after the other. There are certain moments that shine above the simplicity, such as “Heavy Shit,” the shortest song on the whole album. It rages through its 2:14 time, with hyper active drum machine and furious guitar in tow. Though snappily short and sweet, it is a good direction for Green; the minimalist lyrics are matched by the duration and fast pace that screams youth. However, along with this youthful vibe, there really isn’t much to offer on here lyrically, other than stereotypically whiny teenage girl problems. Which evokes some of the same basic boyfriend imagery akin to that of Bethany Cosentino and early Best Coast. That’s not to say the songs aren’t catchy or fun to listen to, but if depth is what you are looking for, you’ve turned to the wrong album.

If you can get past this lack of depth and just focus on the simple and catchy guitar riffs, then you are set to love Sock It To Me, but like other albums of this playful nature, it certainly isn’t for everyone. Some people may never be able to connect to the music here, but others may find something fun to jam to.

The Cave Singers – Naomi

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CS482358-01A-BIGRating: ★★★½☆

While I love a good folksy record on the softer side, sometimes it is nice to have some variation in your audio repertoire, and Pete Quirks grungy vocals will sure do the trick. Step aside mellow folk bands, The Cave Singers have a new release to rock the delicate harmonies right out of you.

Though, Naomi isn’t really a record that falls into the easy categorization of a single genre, but rather one that falls into many. While its pandering guitar lines gently nudge you to believe it’s a folk record, the hillbilly vocals of Quirks push you towards the raw edge of rock. For example, the first track, “Canopy,” is one of those tracks that really just fits in with The Cave Singers classic sound of folk. A seemingly gentle, yet pervasively intriguing riff welcomes you to the album, but the rawness of the vocals gives an edgier touch to the folk tune. The riff continues through this opening number, feeling as though The Cave Singers are picking up right from where they left off on 2011’s No Witch. Towards the end of the song you get this great little break down that makes you yearn to see this song in the live setting.

“Have to Pretend,” the song immediately to follow, shows the rocking side of The Cave Singers. Pete Quirks spits his lyrics at you as if some moody and broody rock star front man who takes control of the stage rather than a bearded folk man plucking away at his guitar. Some gang vocal variation between sharp and soft “oohs,” keep things interesting as Quirks continues on his lyrical monologue. It’s a great track, and in my opinion one of the stronger tracks that The Cave Singers have on this album.

There are certainly other gems to be found on Naomi, especially later on with “Easy Way,” in which the percussion, which is never that prominent in the mix for this group begins to stand out through the utilization of cymbals in the chorus. It’s also pretty hard to miss “Evergreens,” a soft number in the middle of things that strips this group down to bass, guitar, and vocals—a nice step back from the constant movement this collection of songs seems to possess.

Though some long time fans may wish for a little more variety in sound on this album, if this happened to be your first exposure to The Cave Singers, it would not be a bad thing at all. This band keeps putting out albums that continue to hold true to their base sound and yet move away slightly in the ways that you want it to.

Brothers In Law – Hard Times for Dreamers

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2697516072-1Rating: ★★★★☆

Dreamy guitar pop is definitely one of my favorite genres, and it seems that its quickly reemerged as one of the world’s favorites too.  I’ve heard gems from Australia, the UK, Mexico, Japan and now, with Brothers In Law, Italy. The band’s latest album, Hard Time for Dreamers, fulfills the promise that was apparent on their early single, providing listeners with an uplifting pop record that’s breezy and enchanting.

There’s something familiar about the way album opener “Lost Control” begins, but as soon as those steadily bouncing drums kick in, I forget about that, and just let myself get lost.  Guitars swirl in the background and the vocals are uplifting in tone; it’s hard not to find yourself immediately falling for Hard Times for Dreamers, especially when the wayward guitar playing you carries you away towards the end of the track.  It fits nicely with the next tune, “Go Ahead,” which lives in a similar sonic realm, though there’s something about the vocals that gives it a different feel.  It’s just a brief moment, but they raise higher in pitch, leaving me with one of my favorite 2 seconds of pop this year. 

I definitely can see that there are times when the vocals might have too much coating on them, but it’s almost as if Brothers In Law intended to be that way.  It’s as if the voice has been built to add the depth of another instrument.  That being said, during “A Magic,” there is some clarity just after the two-minute mark when the song breaks down to a slower pace for a momentary relaxed movement.   But, that brief moment sets the scene for “Childhood,” where the voice takes the central role in spectacular fashion.  For the beginning, the whole song centers around the voice, surrounding it with warmth, as you would expect in some sort of cathedral recording.  Then, the drums begin to pound, the guitars are turned up, and they shuttle you away to the place where Hard Times for Dreamers lives: a bliss-filled state of relaxation.

If you’re in need for a certifiable hit, and let’s face it, most of us are, then you can probably find the answer to your search by going straight to “(Shadow II) Leave Me.”  Almost from the moment it starts the angular guitar cuts its way back and forth between the solid drumming section.  Honestly, I’m pretty sure this is the best song that Wild Nothing never wrote.  Yet I’ll admit that it’s not easy to find a standout on Hard Times for Dreamers, and that’s not because the record falls short in any way.  In fact, it’s so consistent that you could easily find yourself listening to every track over and over for many days to come.

Grave Babies – Crusher

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GraveBabies_LP1Rating: ★★★½☆

It seems like Grave Babies have been fighting back against the various all-inclusive genre tags that have been thrown their way, though you might not be able to tell that by listening to their latest effort, Crusher.  So before you venture into their world, put all your preconceived notions aside and just listen carefully.

Crusher‘s intent is apparent upon the first instrumental track, “I,” that begins your listening experience. It’s a wall of feedback and noise, looping in your ears with a distorted vocal creating an odd sense of calm before the band breaks into “Over and Under Ground.”  It’s a thunderous track, with pounding drums and anthemic vocals, though you’ll have to listen through the haze to realize this is a pretty simplistic pop song.  You speed it up, clean it up a tad, and you’ve got a nice little power-pop track hanging in there.  Such tendencies are the specialty of Grave Babies throughout their album, creatively blurring the lines between traditional pop and modern noise.  This is much the same approach they use a few songs later on “Skulls,” which has some sonic similarities to what Mike Sniper has been doing with Blank Dogs.  But, the difference here is in the pronounced crispness of the drums, which breaks through the onslaught of guitar noise coming through your speakers.

Personally, I’ll admit to the affecting moments when the band takes a softer approach.  However, the group doesn’t ever go near being too soft; I’m referring to their ability to pull back on the audial barrage of noise.  “Slaughter” trudges along beautifully, fueled by a darkly dancing guitar line.  While the vocals might seem a bit distant in the mix, it’s inevitable that you’ll see the pure harmony in their tone–this isn’t just a noisy record; it’s brimming with an inner beauty. It’s similar to “Death March,” which appears further on down Crusher’s track-list.  Everything moves at a slower pace on this tune, though you can clearly see how the band could go either way…they could speed it up and make it clean, or they could mess with you and just draw the song out slower. This is part of the enchanting part of Grave Babies; they have this unique ability to toy with every preconceived notion you’ve got in your head.  I love the way “Death March” unnoticeably moves into “Haunted, with both songs seeming to come from some kindred spirit.

Listening through the entire album might be grating on your ears, but this is the only way you can guarantee safe passage through the blurred lines that Grave Babies have presented you with on this release.  Is a song like “Hate Repeats” just a ballad disguised as some ghoulish piece of artistic noise rock? Well, you’ll have to make that out for yourselves…that’s the mystique and intrigue that you’ll get to live with as soon as you press play on Crusher.

[audio:https://austintownhall.com/wp-content/uploads/2012/11/GraveBabies_OverAndUnderGround.mp3]

Download: Grave Babies – Over And Under Ground [MP3]

Crusher is available now from Hardly Art.

Golden Grrrls – s/t

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gg frontRating: ★★★★☆

Sometimes things just feel right, and that’s precisely the feeling I get whenever I play the self-titled album from Golden Grrrls.  With warm weather hitting my city, I needed something that would be both energetic and creative, and this album fits neatly into that box.  Bring on the Spring, and bring on more spins of this record.

“New Pop” opens up the album for this Glaswegian trio, and there’s not a better way to start things off than by combining multi-part vocal (male and female) harmonies.  The distorted guitar, the cymbal play and the frenetic pace of the vocal delivery provides a perfect beginning for one of the brightest records of the year.  And it doesn’t stop when Golden Grrrls move into “Past Tense.”  There’s definitely a bit of a more folk feeling bubbling underneath this track, with less distortion being pushed to the front of the mix; it’s probably one of the tracks that wears the badge of Flying Nun Records influences. Ruari’s vocal appearance during the chorus might actually steal the show a bit, but the whole tune’s simply splendid.

Almost every track provides listeners with something to tap their toes to, even when they choose to go in a softer direction.  “Wrld Peace,” for instance, maintains the warm aesthetic of the multi-part harmonies, but the rolling movement of the drums on this song really stands out to me.  After going back over the record again, I realized that the drums standout on almost every track, at least in some regard, but there’s some many layers of sound going on in each track, that occasionally your attention drifts elsewhere…just be sure to give the drumming some props! Sometimes, all three members join in to offer counterattacking vocal parts, like on “Date It,” which might have been why I drifted away from the superb percussion.  You’ve got to have a careful ear to catch everything going on, which I think is one of the many successes within Golden Grrrls; the formula might appear simple at first, but the subtleties of the craftsmanship really is what allows for repeated listens.  You’ll find that same approach on almost every song.

But, that might be a drawback for some, as many of the songs can bleed together just a bit.  Still, it’s a slight blemish on an otherwise marvelous listen.  You’re not going to find a bad track on this record; it’s simply not possible.  There’s casual tracks of summery pop like “We’ve Got” or there are songs that grab you energetically from the get go such as “Take Your Time,” and they all give you a sense of inner joy.  For my two cents, the record is refreshing, taking a popular format, adding more harmonies and a little bit more focus.  It makes Golden Grrrls one of my favorite acts of the moment, and I’m sure it’ll be yours too.

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

Golden Grrrls is out now on Slumberland Records.

 

 

Girls Names – The New Life

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girlsnamesRating: ★★★★½

When a band makes a sonic change, sometimes you lose fans or confuse fans, but the slightest change here should be considered a leap, with Girls Names releasing what I believe is one of the best records that will come out in 2013.  The New Life maintains the group’s penchant for uniting jangling guitars with atmospheric psychedelia, but creates this brooding darkness that propels the group into a category all their own.

“Pittura Infamante” was one of the first singles leaked out, and almost immediately you could tell that the group had something building.  The bass line alone brings in a different level of darkness, with Cathal Cully hauntingly crooning atop the verses.  Yet, two things minimize the black effects: the guitars and the chorus.  Cully’s voice carefully sways from the moment he sings “across,” accentuated by some nice keyboard additives. From there The New Life moves even further into its ghastly presentation with “Drawing Lines.”  My ears can’t get over the vocal here, in a good way.  It sounds as if they’ve been recorded in some ancient cathedral, evoking the purest emotion from any listener.  Also, you’ll note that the first of the two tracks, excluding the introductory “Portrait,” are far greater in length than the work done on Dead to Me–their debut had not a song over 4 minutes, but here, you’re lucky to find the two that just barely fit under that mark.  It demonstrates a bit more creativity and budding craft as songwriters, all which benefit the record.

While Girls Names have created more sprawling adventures this time out, don’t let me convince you that it all has to be affected by doom and gloom.  The swirling guitars that eventually open “Occultation” surely display an added light to the record.  Of course, Cully enters again with that demonic croon while the distorted guitar reverberates in your speakers.  Sonically dark, yes. Emotionally light, check!  Towards the end, the song has its own negative space exploration before jumping right back into a spirited close.  But, just because the band can traipse off into their own sonic realms in spectacular fashion, that doesn’t mean you should ignore the shortest track on The New Life.  Neil’s drumming really pushes the pace here, and the brighter side of the group’s guitar playing really shines through.  Even when they do things in tighter fashion, they give you more than you bargained for.  Right now, I’m particularly in love with the chorus.

Hopefully I’ve given you some insight into what listening to The New Life will be like when you let that needle hit the record. However, those are just some personal highlights, and I think what each listener brings to the table will really play a huge role in how the record is perceived.  That being said, I couldn’t be happier for Girls Names–they’ve taken on their remarkable promise as a young band and taken things to an entirely different level.  Feel free to swoon over this record for the rest of 2013…and beyond.

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The New Life is available from Slumberland Records on 2/26.

Paperfangs – Past Perfect

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paperfangs_past_perfect_front_cover_digital-640x640Rating: ★★★½☆

I’ve spent the better part of the last two weeks playing Past Perfect over and over again; it’s an album that travels well regardless of where you go, be it your bedroom, your car, the gym, home office, whatever.  While there are definitely bright spots, the overall execution from Paperfangs demonstrates a well-rounded effort that any music aficionado can sink their teeth into.

My first few runs through the record, I definitely gravitated towards the 1-2 punch of the openers.  “In Age” takes a second to open up, but the calm electronic playfulness that ensues reminded me of a Finnish Arab Strap.  It’s not a track that hits you over the head with production, yet somehow it manages to hit home every time I press play.  But, “Bathe In Glory” is where I lost myself; the light keyboard wash, the deep vocals and the glancing guitar in the background fit perfectly into a nice bit of nostalgia…nostalgia done right.

As my time with Past Perfect unfolded, I began to give the group more credit for their production values.  For instance, take a song like “This Power,” which could be perceived as just another bedroom pop hit.  However, there’s little touches of horns and piano that really add depth to the track, and don’t miss the sampled vocals that lurk far far in the background of the tune.  It’s easy to overlook such little touches, but I think that’s what’s really allowed me to delve into the record repeatedly for so long.  It’s like an audial puzzle, begging for you to identify the various layers and textures the group put into the recording.

Another aspect of the band that many should take note of comes through in their music as well…the visual.  It’s always been the band’s focus to include such touches in the live production of their music, but several minor sound bites allow Paperfangs to include those notes in their music too. One moment that stands out is in the closer, “His Famous Last Painting,” where the samples open the song, but also reappear throughout the track momentarily.  I think it’s important for all to be aware of such things, as it will definitely lend itself to a more complete understanding of the group’s aesthetic, not to mention clues to how one should listen to the album.

At first, Past Perfect may appear as just a simple electronically enhanced pop record, but don’t sell the effort or yourself short.  Spend a few quieted hours listening to the songs that Paperfangs have created and the odds are that you’ll be constructing your very own visual landscapes where the tunes are fitting.  The more you allow yourself to uncover and dream with the album, the more emotional benefits you’ll get, allowing you to spin the record for hours on end.

[audio:https://austintownhall.com/wp-content/uploads/2013/01/2.-Bathe-In-Glory.mp3]

Download: Paperfangs – Bathe In Glory [MP3]

Past Perfect is available now from Soliti Music. 

Parenthetical Girls – Privilege

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214tRating: ★★★★½

It’s rare that one comes across an album that sounds entirely unique, especially in the realm of atypical pop records, but Parenthetical Girls seem to have accomplished such a feat.  There newest release, Privilege, sounds both familiar and yet entirely different from anything I’ve listened to in some time.  It’s brimming with experimentation, but honed in carefully creating a cohesive gem of a listen.

When “Evelyn McHale” first surfaced in an abridged version, it hit a lot harder than it’s counterpart, which appears on Privilege.  That being said, I think I’m quite partial to the extended version; the vocals have this swelling croon to them, and the strummed power of the guitar leaves you in a sense of audial bliss.  It’s immediately followed by “The Common Touch,” which begins with a vocal that resembles a less operatic Patrick Wolf.  What stands out to me is the musical accompaniment: there’s tinkering piano, accordion, strings and more!  The entrance of a female vocal near the midway point is an added touch of beauty.

One of the highlights from Parenthetical Girls has also been circling around for sometime, but you can’t escape the magnificence that is “The Pornographer.”  I’d gladly take the rising tones of the chorus ten times over, accompanied by a haunting male chorus in the background.  You’ll find the song treads its way patiently throughout, only erupting when necessary. Dammit! This song is so good.  Yet, despite such a stand out number, the bread and butter is the band’s ability to move in and out of various song structures.

You can skip around the entirety of this album, and you’ll be on trip that won’t let you down, no matter where you land.  For instance, start with the jittery “Note to Self,” that revolves around a catchy string strumming and pounding bit of percussion.  Then jump to the dark edges of bedroom electronic with “Careful Who You Dance With.”  It’s a solemn number built around synthesized beats, using the occasional sonic explosion.  Finally, end your path at the bittersweet “Weakness.” For me, the strings pulled at every emotion I could contain, creating a swelling that bubbled its way into a more playful direction as the song unfolded.  You’re not going to find three more different songs scattered about that tie together in such majesty.

Crafting quirky pop numbers might be what Parenthetical Girls have been doing all along, yet the central theme you’ll find is that none of that matters anymore.  Privilege leaves you with such an uplifted heart that you’ll find it difficult to put the album down; I’ve tried only to come back and press play all over again.  While some bands revel in pop delivery, others toil in obscure pop craftsmanship, but here you find it all blended together perfectly in one splendid listen.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/thepornographer.mp3]

Download: Parenthetical Girls – The Pornographer [MP3]

Eat Skull – III

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eat-skull-IIIRating: ★★★★☆

I’m late to the party on this one, having only recognized Eat Skull by name, rather than by their previous efforts.  That being said, III seems like a good place to start for me, as it’s already made me a champion of the work the band are creating.  If, like me, you’re new to the band, then come along as I take you on my first journey with the band, which has already been an exceptional trip.

“Space Academy” immediately had me sold on III.  It’s got a fuzzy guitar riff that opens up the album, followed by some chanted vocals that dictate to us exactly “how it’s going to be.”  My ears recalled bits of a Brit-pop stomper, albeit an extremely louder/scuzzier version.  Even as the song trails off into an instrumental guitar dabbling, I still found myself enthralled. “Dead Horses” soon follows, and it doesn’t do anything to dissuade my adoration.  For one, the band references taxidermy, my favorite pastime, on multiple occasions, but it’s also got this rolling pop-centric guitar line that lives in the middle of the track, which oddly works in harmony with the discordant accompaniment.  I’m psyched to watch these “dead horses decompose with taxidermy eyes.”

Eat Skull do decide to turn things into a different direction on the third track, “How Do I Know When to Say Goodnight,” which seems like a blend of glitch-pop and their ramshackle folk influences.  There’s an other-worldly chanting going on in the background that at times can be a tad grating, but otherwise, the experimentation of the group opens your ears to some incredible pop moments. I think the group’s dallying between genres comes to fruition, however, on the most inconspicuous of songs. There’s a heavy coat of bass fuzz atop light guitar playing, yet the vocals have this certain clarity that isn’t present on all the other songs within III.  You’ve got to have patience on this number, and I appreciate that, leaving me with my own personal haunting. Another gem you’ll find lurking in the musical madness is “They Burned You.” This jam has its own ghoul, which comes in the way of a looped vocal circling through the foreground and the background.  For me, my appreciation comes from the strumming guitar work and the rising and falling of the vocals.  It starts off your final leg of the journey that will take you through the joyous “Amnesty Box” and the more exploratory pop of “Catch Em Before They Vanish.”

It’s easy to admit that Eat Skull might not be for everyone’s enjoyment.  There’s certain elements that I can see as being inaccessible, especially if you’re one to quickly push through your musical collection.  But, if you’ve got the patience for listening, then find yourself peeling back the layers of III; it’ll take you to places you might not go, musically speaking, for the rest of the year, making this a memorable listen time and time again.

[audio:https://austintownhall.com/wp-content/uploads/2013/02/01-Space-Academy.mp3]

 

 

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