Useless Eaters – Hypertension

useless_eaters_coverRating: ★★½☆☆

According to his press cohorts, Seth Sutton is taking cues from Jay Reatard, at least in regards to the musical side of life.  Never sure of when our time is up, Seth aims to release as much music with Useless Eaters as is humanly possible.  On the newest record from the group, Hypertension, you can see the hurried force coming through; there are incredible gems, but some areas could definitely use a nice little polishing.

Hypertension opens with “A New Program,” which might not have been the best choice in the long run.  It’s a decent song, but it doesn’t quite have the punch to kick down the doors of your eardrums and suck you right into the record.  It’s a good thing “Moody Bitch” follows with it’s off-kilter vocals and whirling guitar/drum skirmishes.  This is where those that have caught Useless Eaters live expected things to start, though at this point, you still might be looking for a finished version.

The previously released “Addicted to the Blade” is where things begin to take form, with an angular guitar cutting its way through from the get-go.  There’s even some mild tension building guitar noodling in the middle of the track that really adds to the punch of this track; it’s clear why this tune was so successful as a 7″ single.  You put that together with “Black Night Ultraviolet,” which trickles in at the sixth spot, and you’ve got two great standouts.  On the latter number, I dig the relaxed feel to the delivery of the vocals, as well as the simplicity of the lyrics.  These are probably the two brightest moments throughout Hypertension, though that is just one man’s opinion.

If you buy the vinyl, you’re going to notice the different leaning of the B-Side; it contains a much more metallic/electronic approach to it.  Unfortunately, the vocals are often obscured, and again, you can’t help but wish for an improved quality in the recordings.  For instance, “Shapes of a Mannequin” could really be a huge success, but there’s this odd echo on the vocals that really creates an affecting audial distance.  And personally, I’d like to see the guitars sharpened just a hint, as I completely dig what’s being played.

In the end, Hypertension seems precisely as its definition would indicate: an extreme state of psychological stress, but that comes from a listeners standpoint, and not that of Useless Eaters.  I’m stressed and frustrated because I can hear great songs lurking throughout my repeated listens, but they just hide on the very edge of greatness, then shy away to a realm of mediocrity.  Sometimes it’s best not to rush through your ideas, letting them hang about a bit while you clean them up.  Hopefully the next effort improves on that aspect, and if so, it could be a solid hit.

[audio:https://austintownhall.com/wp-content/uploads/2012/06/Addicted-To-The-Blade.mp3]

Download: Useless Eaters – Addicted To The Blade [MP3]

The Little Ones – The Dawn Sang Along

1360750994_coverRating: ★★½☆☆

Releasing their debut album back in 2008, The Little Ones have henceforth been known for their hyper-energized, guitar laden power pop. With members of this group coming from the band, “Sunday’s Best,” this group is comprised of several musicians giving their best go at making music that people can shake it to.

If I could say one thing about The Dawn Sang Along, it would be that it essentially defines a ‘fun’ record. When the first inklings of synthesized beat begins, you can already feel the anticipation building quickly before the song takes off. Such is the beginning of the album in “Argonauts,” which opens things up with all of The Little Ones’ explosive and energetic bouncy pop. The borderline falsetto vocals work to keep things extra light and airy, while mechanic drum beats and synthesizers give this band a sound that resembles a mixture of bands like Two Door Cinema Club and Cut Copy. “Argonauts,” though the first track on the album, manages to maintain its resonating catchiness all through the rest of the album, driving to return to it time and time again.

But, as I mentioned before, The Dawn San Along is pretty much the embodiment of a fun record, and so The Little Ones have a lot more to offer than just one song of sunshine. Indeed, the follow the first track with the equally catchy “Boy on Wheels,” which possesses the same hooky guitars that this group exemplified on their previous record. Some other stronger tracks off the album include “Shake Your Sign,” which incorporates some less static sounding drums, opening up the dimensions of sound. Also, late on the album is “Ain’t It Like You & Me,” which closes out things nicely with its building and echo-y vitality.

Though this record is sunshine and fun expressed in a summery sound, it may just be a little too sugary and bright for anyone but teenage girls. To their credit, they do try and slow things down and sober up a bit on numbers like  “AWOL,” but The Little Ones just can’t really shake off the sunshine. And to some, it may just be what is needed to shake off the winter blues, but for others, The Dawn Sang Along might come across like that person who is always smiling a bit too widely, too early in the morning.

Eels – Wonderful, Glorious

eels-Wonderful-Glorious-628Rating: ★★★☆☆

It’s extremely hard for me to dismiss anything E puts down in the studio, even if I’m always a touch unsure of exactly where he’s going, musically. After his musical trilogy, Eels returns with his 10th studio album, Wonderful, Glorious.  The music by and large has a jittery, upbeat feel, though E’s lyrics remain forever self-deprecating and introspective.

Wonderful, Glorious immediately starts things off with an almost circus-pop appeal, using what sounds like a kazoo to break up the fuzzily affected track.  E reminds us that he’s been quiet for a bit, but that he aims to blow things up on “Bombs Away.”  It’s an interesting track, though it teeters on the verge of being a bit too long.  Honestly, by the time you get to the second track, “Kinda Fuzzy,” the album has already grown a bit weary.  The everything but the kitchen sink approach is just difficult to digest consistently, though there’s a beautiful moment that begins near the 1.22 mark, and quickly fades into the distance.  But, you’ve got to stick around to get to the goods; Eels always has the goods.

“On The Ropes” is the personal material that makes E a special songwriter.  Quietly he plays the guitar and opens up to the listener about his struggles, though he vows to continue the good fight in the future.  His voice is memorable, and his lyrics are wry; this is the Eels that I’ve come to enjoy since my obsession with End Times.  If you dig deeper into the album, you’ll find “True Original,” this time pulling at your heartstrings with a strained vocal performance.  The beauty in this track fully enters as light orchestration gently dances about the strummed guitar; you’re not going to find too many tracks of this vein that sound so perfect.

Wonderful, Glorious definitely lives by its own ebbs and flows.  The high points are some of the best writing E has done in recent years, yet the lows revolve around my personal indifference to his monkeying around in the studio; he’s most successful when he’s straightforward and sincere. “I Am Building a Shrine” is another such song that stands out in my mind for the slow introductory moment, pushed into bliss by added musical accompaniment, before returning to the solitude of percussion and vocals.  Looking back over the 10 years of Eels albums, and this might be in my top 5 favorite tracks.  Yep. Number 4.

I struggled with where to go with this album, mostly because I’ve taken a strong liking to the quieter, more personal Eels.  It’s definitely present on Wonderful, Glorious, but it took some time to get there.   If perhaps the sequencing would have been different, pulling that 5.25 opener and putting it somewhere else, I can see myself enjoying things a great deal more.  It weighed down the opening, but once you move beyond, you’ll find spectacular songs that remind you why E has been able to continue to reach an audience 10 albums into his career.

Ducktails – The Flower Lane

Ducktails-Flower-LaneRating: ★★★½☆

The Flower Lane is the third studio album from this group, fronted by Real Estate’s Matt Mondanile. The band specializes in garage-esque, murky alternative rock music, though they take a step further into clarity with this release.

The album starts out on an unmistakably high note, with “Ivy Covered House,” which is one of those tracks that makes you yearn for that perfect sunny day so you can roll the windows down and just let the breeze ruffle your hair—it’s that glossy and smooth of a tune. This first number is just about as full of jangly guitar as possible and it is as though Matt Mondanile is evoking the style of his other band, Real Estate, which is far from a bad thing. Regardless, when the band circles around to the final repeated chorus after a short instrumental break, it’s impossible not to be onboard.

Though this is about as jangly as Ducktails go on this album, and the next few tracks put some distance between its sound and the others. Two tracks later on “Under Cover,” the band still has their swirling guitars, but have leapt into the realm of jazz, complete with saxophone interludes; it is safe to say that this isn’t a predictable Ducktails track. That being said, this album is quite a different step for the band, not only in a decrease of fuzziness via the production, as well as the different experimental directions they take.

But what is interesting about The Flower Lane is that if you skipped ahead to the latter part of the album, you’d probably be confused as to if you were still listening to the same band. Though they have already jumped a few genres earlier, there are a few tracks toward the end that don’t really seem to fit in with the rest of the tunes on this album. “Letter of Intent,” the second to last track on The Flower Lane, is really more electronic than anything Ducktails has put out up to this point in time, as it is a collaboration with Dan Lopatin on Synths, and the feminine vocal styling of Jessica Farkas of Future Shuttle. It’s a groovy number, but it really strikes hard as out of place after you’ve been listening to a primarily guitar motivated album. The track before it, at roughly two minutes long, “International Date Line,” retrospectively only feels as though preparation for the track that follows, but alas, it still doesn’t really sit right when the band returns to their ‘normal’ sound on the final track after it.

Even with this odd ending, this album is still one that has a number of good songs to entertain those who are a fan of garage rock. So if you haven’t yet, give Ducktails a spin.

Being There – Breaking Away

beingthereRating: ★★★☆☆

It wasn’t too long ago that Being There released their debut record, but several spins into Breaking Away and you’ll see the growth in the London four piece.  The guitar playing is tighter, and the recording maximizes the pop sensibility of the group.  If you’re in need of a good pop rock record, then your best bet for 2013 is to begin here.

“Allen Ginsberg” gently begins things, with nothing more than the quieted vocal and a gliding guitar track.  While it’s the first track on the album, it’s also one of those that dictates the sincerity of the group.  But, they’re not eager to lay down an album’s worth of mellow pop tunes, jumping immediately into “Back to the Future.”  For me, the drumming wins out on this track, providing the backbone for the guitars to dig their way into your auditory heart.  Slight bits of twang during the chorus serve to bring the melody back into focus.

While I definitely appreciate the presence of upbeat numbers on Breaking Away, there’s a soft spot for the mellower tunes, like “Infinity.” The ringing guitars accompanied by acoustic strumming are reminiscent of some of my favorite tracks by The Lucksmiths, so it’s easy to see why I gravitate towards such moments.  Perhaps their brightest moments though come when they combine both elements, such as Being There does on the six-minute killer, “Silent Runner.”  You’ll hear a jingling tambourine steadying the track, with a nice melody warmly sung atop it all, but they play with the tension levels too.  There are bits of atmospheric guitar noise that swells midway through, making it more than just an average pop ballad.

Hints of a modern indie pop-gaze influence appear in songs like “Tomorrow” or “The Radio,” but I suggest you hold up to one of the more special songs that awaits near the end.  “17” is perhaps the hidden gem that many people with attention disorders might skip, due to its late presence.  I like the tonal changes in the mix for the vocals, but I also appreciate the steady pacing of the drums that work together with cascading guitar chords.  It’s a special moment that I’ve continuously played outside of my review purposes.

All in all, Being There have done an exceptional job of upping the ante from their first effort.  Sure, there are some derivative pieces here, but the overall feeling of the record more than makes up for that.  There’s enough mixture in the placement of songs to dictate repeated pleasure for listens all the way through, yet there’s also stand-out tracks that you can include in your mixes for friends.  Breaking Away is your chance to enjoy the simple pleasure of good pop music, and hopefully go on and share it with the world.

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

Download:Being There – The Radio [MP3]

 

Lost Animal – Ex Tropical

600x571-cRating: ★★★½☆

It’s hard to imagine a musician creating an entire album geared around what he, or she, can accomplish on a keyboard, but that’s precisely what Jarrod Quarrell aimed to do with his Lost Animal project.  Don’t you worry your little head, the songs within Ex Tropical are anything but basic keyboard tunes; they’re soulful ballads dabbling in sonic exploration.

The introductory track from Lost Animal is aptly titled “Intro – Beat Goes On,” giving notice that despite the confines of primarily using a keyboard to craft tunes, there’s a huge deal of soul lurking on the entirety of the collection.  Quarrell’s voice has a hint of gruffness, which provides a darker texture to the otherwise pop-laden hooks of this opener.  You’ll see that haunted soul completely take over on the following tune “Say No to Thugs,” which really seems like a less-orchestrated Spiritualized.  While it may be stripped down, Jarrod’s vocals really seek to evoke that last drop of emotion from the depths of your inner being.

It’s hard to escape the dark feeling that comes with Ex Tropical, and that’s aside from the obvious reference to a move away from sunlight in the title.  When you come to a song like “Dark Litter” there are definite sonic flourishes that add to the song, but the overall simplicity is what really allows you immerse yourself in what Lost Animal is trying to accomplish.  If you stripped it all down to a simple keyboard line, it’d still be a solemn number.  That being said, you can still find yourself some more playful moments popping in and out.

Just after what’s the darkest moment, for my ears, you get the playful striding beat of “Cold Cut Nature.”  It’s placed perfectly in the collection, giving you a more light-hearted vibe that originates with that bobbing beat.  You’ll even find Quarrell playing with his vocal approach by mixing up the tones throughout this tune.  It’s comparable to the driving beat that hides behind “Lose Your Baby,” even though the subject matter isn’t necessarily the most uplifting.  Such is the nature of the work on this record; it goes wherever it wants to go.  But, for my two cents, you should not pass go without listening to “Old Lovers.”  It’s hard to explain what’s more strikingly beautiful: the keyboard work, guttural emotion or the soft touches of backing vocals.  Whatever it is, this is surely a special song.

Honestly, Ex Tropical might not be a record for an everyday listen, but it’s an album that everybody needs to listen to at some point in time.  Jarrod Quarrell has found himself in the work he’s created for Lost Animal, leaving listeners with the perfect balance between barroom soul and pop balladry.  You’re not likely to find much else out there quite as unique as this, making this a hidden gem for those who choose to invest their time in the perfect listening experience.

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

Download: Lost Animal – Say No To Thugs [MP3]

Local Natives – Hummingbird

preorderRating: ★★★★½

In 2010, Gorilla Manor put this band on every keen indie-music fan’s radar, and since then, due to an insane amount of touring (they’ve played in Austin at least four times since their debut alone, not including the SXSW the year prior) it seems like everyone has been wondering when this band was going to put out a follow up record. But now that time is upon us, a bit of pre-flight jitters and second thoughts fill the air: would it be as good as their debut, or leave fans wanting to break free from the sophomore slump?

Those who have heard the two singles, “Breakers,” and “Heavy Feet,” that the band were circulating in hype of this album should know that Hummingbird is a completely different animal than Gorilla Manor (pun intended). In every way that Gorilla Manor was percussively raw and indulgently explosive, Hummingbird is refined and yet powerful, constantly effervescing in some way—be it a percussive element or a gentle riff, or a cathartic “ooh.” You can hear the difference in the two tracks aforementioned. On “Heavy Feat,” the drums flutter hyperactively in the background while the blissful harmonies you’ve already come to love fill the foreground. On “Breakers,” the percussion is still there, but what is most noticeable are the building waves of “Oohs,” that layer upon themselves and give the song an elegant ferocity that will have you playing it on repeat.

But these two songs are far from the only hard hitting tracks that Hummingbird has to offer—on the contrary, the whole album shines almost as bright as the band’s debut, albeit in a different light. Part of this is due to the National’s, Aaron Dessner, who helped produce this album, as well as his recording studio wherein the band recorded this time around. With his finesse, the band’s nuances are amplified, and a sharper, cleaner record comes into focus in which the music is less gimmicky, and more emotionally accessible. Even on the numbers that are of a faster nature, the lyrics are still vividly expressive, though perhaps on a bit darker, more National-esque, note. Take the opening lines of “Black Balloons,” one of the strongest songs, for example: “I can see the words as they come out of your mouth/Black Balloons form into a poison cloud—” such imagery is much more prevalent.

And in the end, it’s pretty hard to be disappointed with Local Natives, as Hummingbird lives up to the hype even upon first listen and gets better upon repeat. That being said, it’s important to let go of your preconceived notions of this band as one-trick percussive ponies and let yourself be carried away by the refined ferocity, if not, you’ll be passing up on a band who has only put out, and will continue to put out impressive music.

Wimps – Repeat

wimpsRating: ★★★½☆

As a pseudo-music critic it pains me to admit that I often have a tendency to over-analyze the music put before me.  Sometimes music is just meant to be fun; it doesn’t have to have this higher meaning you can only discern by thumbing through the lyrics sheet.  The debut LP, Repeat, by Seattle’s Wimps is just that.  It’s a rock n’ roll record meant to be blasted loud through your speakers. If you approach it just right, you’re going to pogo about your house like your teenage self.

“Slept In Late” kicks Repeat off in a great fashion, getting your energy pumping from the very get-go.  Rachel Ratner’s vocals have this natural brattiness, but in the endearing manner that most of us who love punk rock will easily enjoy.  Guitars are turned up to just the right levels, careful not to appear over-bearing in front of the drum kit.  That same no-frills attitude comes in again with “Grump,” a song that immediately begins with exuberant shouting.  But, before the group dallies in repetition, they decide to switch things up with careful guitar work instead.  It’s a slight move away from the opening track, albeit not too far.

Upon repeated listens with Wimps my ears seem to gravitate towards “Hello Frustration.”  I love the sound of the guitar here, which almost has a bit of a stutter to it.  The call-and-response lyrics of “let’s grow old and be boring” are perfectly delivered, allowing the song to stand-out just a bit from its predecessors.  From here it only gets better as you blast off into “UFO.” There’s a bit of a swing to the overall feel of this tune, which will have you tapping your toes as you rock along.  And sure, the lyrics might be a bit juvenile, but when did we start taking our rock n’ roll so seriously?

Repeat has a lot of songs that don’t necessarily have lofty lyrical aspirations, but I don’t remember “Judy Was a Punk” being the most poetic piece ever.  Perhaps there’s even a bit of tongue-in-cheek nerdiness, especially when you listen to songs like “Stop Having Fun.”  I mean, come on, the opening line is “I got a long face/that’s because I’m a horse.” You’re allowed to appreciate music just on its own basis, and that’s just what I feel this debut from Wimps provides.  You’re not going browse through the insert looking for deeper meaning in lyrical craftsmanship, but you’re going to have a hell of a time turning this one up really loud.  Throughout Repeat, the vocals are shouted in joy, and the guitars bring in a distorted garage rock mess.  It’s rock n’ roll music, and I love the way Wimps pull it off.

[audio:https://austintownhall.com/wp-content/uploads/2013/01/Stop-Having-Fun.mp3]

Download:Wimps – Stop Having Fun [MP3]

Buke and Gase – General Dome

Buke-and-Gase-General-Dome-580x580Rating: ★★★★☆

A lot has been made about the talented duo Buke and Gase, with a great deal of the discussion revolving around their ability to use hand-made instruments.  That’s quite a gift, I assure you, but I think the biggest thing to focus on with General Dome, the group’s second full-length, is how it all comes together.  In a basic sense, it’s executed pretty perfectly, leaving listeners with a crunchy bit of art-rock that sounds more like a multi-membered band than a twosome.

From the moment I first heard opening track “Houdini Crush” I was already into General Dome.  There’s a ringing guitar chord just before Arone Dyer enters the picture, her voice soaring heavenly with just a bit of an off-bitch quiver.  The duo uses a sense of playfulness that reminds me of a more-focused Deerhoof, or perhaps less erratic. That attitude carries over into tracks like “In the Company of Fish” where Arone and Aron play off each other before Dyer takes over the lead roll.  Here the guitars sound almost like emotional jabs rather than sprawling chords, but it’s organized in such a fashion that you find yourself mesmerized.

As you arrive at the fourth, titular, track from Buke and Gase, things begin to take root. For me, this was the first track where I really was impressed by the musicianship; I thought it surely couldn’t be less than three people–such is the usage of various sounds.  Dyer on this version sounds more breathy, drawing you into the edgy construction of the track.  It’s similar in fashion to the following number, “Hard Times,” a tune that opens with what sounds like piano tinkering (it’s not) before plunging into the heavier side of the group’s sound.  Layers are placed upon layers, and again, you’re mystified.

But, one thing that would have immensely affected General Dome would have been a number or two that changed the pace a little bit.  There are moments when things seem to change up a bit, such as album closer “Metazoa” or the feeling of added tension on “Split Like a Lip, No Blood on the Beard.”  They alter the formula slightly, but Buke and Gase find themselves middling about at parts…perhaps the downfall of being a duo, as two people can obviously only do so much without giving into unnecessary technology.  That being said, each song on the album (aside from a few artistic intermissions) can be successful on its own.

Some albums need your involvement as a listener, while others can survive as environmental noise…General Dome is the former.  For you to maximize your enjoyment with Buke and Gase, you need an attentive ear that closely follows every structural change or every added instrumental touch.  If you choose to do so, you’ll be rewarded with an experience you’ll cherish from the moment you press play.

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Nightlands – Oak Island

Rating: ★★★☆☆

When I first heard Forget the Mantra, the first album from Dave Hartley’s Nightlands project, I was completely enamored.  From the moment I pressed play, it somehow matched my life, fitting in nicely like only few records could at the time.  Now, a few years later, Hartley returns with Oak Island, his newest effort via Secretly Canadian. For me, this is a different beast; yet, it’s solid through and through.

When “Time and Place” opens the record, the song revolves around Hartley’s gently draped vocal, seemingly hanging in mid-air.  Slowly, drums make an appearance just after the 1 minute mark, pushing the song forward ever-so-slightly. Reflecting back, Oak Island begins much in the same manner as the previous effort, but by the time one arrives at the following track “So Far So Long,” one can see that there’s a bit more clarity present: a bit more focus if you will.  That being said, it takes a bit of the mystery away from it all.

Juxtaposed to Forget the Mantra, the layering of the music here definitely has a less ethereal quality.  For instance, “Nico” has somewhat of a flamenco influence with the guitar and drumbeat.  These direct approaches make Nightlands both more accessible, yet less thoughtful. Sure, the usage of horns on tracks like “I Fell in Love With a Feeling” adds a little bit of nostalgic pop grooving, but it’s seemingly open; there’s nothing to be discerned, nowhere to find yourself lost.  Therein lays the one issue I’ve found in this listen, while more immediately approachable, it doesn’t seem to have the longevity that I felt with the first release. 

Of course, there is one issue that still remains for me, which could change the whole game…the title, Oak Island.  Thematically, one tends to look immediately at the references to love (they’re even mentioned in press).  But, Oak Island is a mysterious place, with a mysterious treasure; people have spent their lives hunting for said prize.  Perhaps I’ve faltered here in my quick judgment of Hartley’s work.  Knowing the history of Oak Island, it could be possible that he built obvious hooks atop his detailed layering, hoping to trick listeners into discarding the LP, or at least with comparing it to Forget the Mantra. 

In the end, the album is an enjoyable listen, although a dozen listens finds it a little bit more obvious than the previous release.  Multiple stand-out tracks exist, such as “Nico” or “I Fell in Love with a Feeling,” but their presence alters the overall cohesiveness just slightly.  Nightlands originated by crafting one man’s dream-scape, which flowed from beginning to end.  Oak Island on the other hand seems like a collection of songs, good songs mind you, but with songs that stand alone.  Still, you’ve got to spend time with the entirety of the album to full appreciate it all.  I suggest you start there.

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