Tag: album review

Black Marble – A Different Arrangement

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Rating: ★★★★☆

There are tons of bands out there crafting dark electronic pop music nowadays, and I’m cool with that, for the most part.  But, sometimes you have to wade through a lot of mediocre work in order to find something special.  Luckily, the newest effort from Black Marble makes it easy; it’s accessible, dark and infinitely rewarding.  You’re going to want to get your hands on a copy of A Different Arrangement as soon as you can.

For three seconds, Black Marble begins things with this ominous feeling on “Cruel Summer,” but just minutes later it evolves into a evenly-paced bit of dark pop.  Beats unfold rather slowly, encouraging you to fall further into the track as a brighter electronic sound begins to take shape.  If you’re looking for something that’s going to beat you over the head with hooks, then perhaps this isn’t the song for you, with the lyrics keeping an even keel throughout. While other bands simply push forward to quickly, the NYC duo are happy just hanging out and making tracks you’ll want to listen to on your darkest days, and your brightest too.  There’s a pulsing beat to “A Great Design,” and even a bit of a lighter sound to the crafted music, but the slightest hint of an echo drenched over the vocal provides that sensation of personal melancholia that allows you to lose yourself within the confines of A Different Arrangement.

Even with the songs creating their own sort of negative space throughout, a few songs do allow for that slight upbeat movement.  The one-two punch of “A Different Arrangement” and “Limitations” does provide the record with an extra skip in the middle of things.  Musically, the former track is what provides the bit of a different mood, with the vocals holding tightly to the distant feeling they’ve provided since the get-go. I feel like the latter track, though still dwelling in that haunting spectrum, does its bit to move the mood into a peppier sphere, though only slightly.  All that being said, the tempo remains slow–a constant for almost every track on the album.

One of the things I really enjoy about immersing myself in this release by Black Marble is its ability to seem so far away musically, yet provide you with a bit of personal intimacy—at least if you grew up on the dark-tinged pop of the 80s.  Songs like “Pretender” though using a more propulsive drum loop still invoke a feeling of longing or isolation, yet the slight swinging of the beat makes me wax nostalgic about dancing in my room as a kid to my sister’s records.  Naturally, those sorts of feelings, even as an adult, still resonate, which is what makes the entire effort so enduring spin after spin.  A Different Arrangement never grows old, and it almost always surprises me with which song I like the most; sometimes I lose myself in one, only to find myself mildly tapping my tow to another.  As the winter months begin to approach, there’s not a record that I think you’ll appreciate more.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/BlackMarble_AGreatDesign.mp3]

Download:Black Marble -A Great Design [MP3]

A Different Arrangement is available October 9th from Hardly Art!

 

 

Sun Airway – Soft Fall

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Rating: ★★★½☆

When Sun Airway came out with their debut, Nocturne of Exploded Crystal Chandelier, two years ago, it was hard to project the longevity of such electronic laden music. With its never-ending loops of distortion and synthesized beats, I was convinced that this would be a one-and-done band; it would be hard for future releases to match the freshness that the first release possessed. Luckily, Soft Fall denounces such an assumption.

My first inclination that this sophomore release would be just as special as its predecessor came when I first heard the single “Wild Palms.” At three minutes and forty-three seconds, it does a pretty good job of giving you a little taste of everything that Sun Airway does well and making you crave even more. It opens with an infectious beat that dominates the soundscape and some electronic orchestral sounds. The distorted, echoed and simultaneously here-and-there vocals of Jon Barthmus quickly make their appearance to hypnotize you with their irresistible serenity amidst the chaotic atmospheric sounds happening behind them.

In the album this single comes a little before the halfway point of Soft Fall, serving as a nice standout track, but by no means is it the only hit this Philadelphia duo has in store for you. Before you reach this number, they hit you with “Close,” that introduces you into the quickened pace that is apparent through the whole album. After the midpoint of the record, you also have other contagiously good numbers like “Symphony in White No.2,” which is sure to have you dancing along. Though the pace is noticeably faster on this album, you also have slower jams like “Laketop Swimmers” and the title track “Soft Fall” that serve as deeper cuts like “Shared Piano” from the prior release.

While it is every bit as infectious as Nocturne of Exploded Crystal Chandelier, it is a smidge less listenable and leaning on the lazy side of things when it comes to variation, specifically in the lyrics department. Yes, this band is producing electronic music that focuses on the beats and filling sounds produced, but what I really enjoy about this band is their ability to keep the music down on a human level with their lyrics. In some instances, the words are repeated so much that it detracts from the aesthetic of the song and leaves me bored.

Such instances are few, leaving Soft Fall to be exactly what its title proclaims it to be and in more than one way. Yes, it is a gentle step down from the beauty of this band’s first work, but it is also the sort of record that you can listen to distance yourself from a long day and fall softly upon something a little more magical.

 

Allah-Las – s/t

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Rating: ★★★☆☆

I’ve really been wrapped up in the Allah-Las since I first stumbled upon their early 7″.  The group seems to encompass everything about the musical history of California, harkening back to the state’s glory days, which may or may not leave the band with some detractors.  Their self-titled debut lives up to my expectations, though it does seem to get stuck in one place for a bit too long.

If you run straight through the first several tracks, you’re going to get the exact feeling of this debut by Allah-Las. “Catamaran” opens with a wayward psychedelic jangle, employing gang lyrics to provide an extra bit of emphasis.  It includes a chorus of “I want to hold your hand/I want to be your man,” which seems to epitomize everything my father taught me about falling in love with the 60s.  “Don’t You Forget It” has a bit more of an angular guitar line, but it still seems to have that Eastern guitar sound popularized during the hey-day of Haight Ashbury.  Don’t take this to mean that there’s nothing ultimately pleasurable in traversing the annals of history, as the group makes it their own, especially when the guitar brightly dances off on its own.

For me, the standout track comes after the group takes an instrumental break with “Sacred Sands.” “Sandy” is perhaps one of the best songs the group’s put together.  There’s an effect on the gang-vocal section that creates more intimacy with the listener, which isn’t always present on the rest of the lyrical development throughout Allah-Las; it’s almost as if they’re all whispering in your ear.  Throw this in with “Catalina” and you can clearly see that re-hashing isn’t the sole purpose of this record.  The group’s inspired by their home state, as the latter song indicates.  It’s percussion perfectly fits with the mood of the record, matched evenly with the swirling guitar work and the fluid vocal approach.  It all leads up to album’s last track, “Long Journey,” the song that I think most closely resembles my expectations and fascinations with the group.  At its heart, you can almost feel some acid-induced boogie, but here they slow it down to the most mellow tempo their style allows, giving the song and listener room to breathe.

For what it’s worth, I went out and bought this album.  I’m obsessed with the Allah-Las; I think no one out there has completely captured the sound of the California psych-garage scene quite like these guys.  But, that being said, their self-titled debut does lack a little bit of pace or a little bit of mixing things up.  A few instrumental tracks here and there do give you a chance to calm yourself, and that’s great, but perhaps a fast-paced jangler or a long-drawn out smoke-shop ballad would have made this record something out of the park.  Do yourself a favor though, and sit down with this record.  Absorb it, appreciate it, and you’ll definitely look highly upon this effort.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/Allah-Las-Dont-You-Forget-It.mp3]

Download:Allah-Las – Don’t You Forget It [MP3]

Levek – Look a Little Closer

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Rating: ★★½☆☆

When a band deems itself belonging to the “Mickey-Mouse Tribal” genre, it’s difficult to know exactly what they mean. I take it to mean music that’s paying homage to another time—a sort of nostalgic music. Still, what does this entail? For Levek it means music coated in synthesizers and old-fashion elements of sound that bring you back to yesteryear, but which yesteryear is this band evoking? The 70’s, the 60’s, or neither?

To be honest, this album is a little all over the place: on one song you’ll find chill experimental music, on another you’ll find a track that sounds like something you’d hear in an elevator, and another evokes Grizzly Bear in its slow burning intensity. While all of the songs on Look a Little Closer fall along the same level of calm, there is a large disparity in the sound of this band from song to song, and this overall discontinuity disrupts the flow of such a record.

This disparity is present at the beginning of the album, until the sound that Levek decides to stick with appears. The first song, “Black Mold Grow,” has a chill, 1970’s vibe to it, complete with the meek vocals of front man David Levesque. The track is soft and seems to float on a layer of thin air, bouncing on light percussion and sugary harmonies, but then it bursts into a disco-y sound at the end, with layers of warmth that give it a full and rich texture.  Such rich texture dissolves by “Terra Treasures,” the third song on this album, which reminds me of a song you’d hear only in an elevator; the synthesized organ and the flat percussion doesn’t really go anywhere. Fourth up is “With a Slow Burn” whose bubbling serenity calls the sound of Grizzly Bear to mind. However, the second half of the album falls into the exact opposite pattern in which the songs begin to blend together in their similarities.

Now don’t get me wrong here, I’m all about diversity within a band’s sound, as it is what prevents all of the music on an album from meshing into one giant song. There is, however, a difference between continuity and the over-repetition of sounds. Look a Little Closer could use a little more of both of these elements in separate doses.

[audio:https://austintownhall.com/wp-content/uploads/2012/09/08-Girl-In-The-Fog.mp3]

Download:Levek – Girl In The Fog [MP3]

The Mountain Goats – Transcendental Youth

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Rating: ★★★½☆

I can’t tell you how many albums I actually own by The Mountain Goats, the moniker of songwriter John Darnielle; I can say that its quite a few, including some early collections of demos. All I can say about Transcendental Youth, however, is that it’s a record that sounds more complete than anything he’s done to date, featuring careful musical accompaniment that wasn’t always present before.

Our newest affair with The Mountain Goats begins with a heavy-strummed track, “Ana aka Spent Gladiator 1.”  It’s a track that uses John’s traditional lyrical fare, encouraging his protagonist to push on despite various trials.  What I personally enjoyed here is the song’s heavy-handed approach, as if it’s more of a rock tune than the intimate numbers Darnielle’s composed for years. Interestingly, it fits thematically with “Spent Gladiator 2,” which deals with the same idea of fighting for survival in the world.  But, this tune is more of a softer track, made more beautiful by a sparingly used piano.

While the songs on Transcendental Youth largely deal with man’s struggle to face the challenges of life, the music goes back and forth between the intimate songs and more powerful numbers.  “Lakeside View Apartment Suite” revolves around a solid piano backbone, providing the feeling of solitude one would get if they were to play the role of the lead in this track.  There’s additional fleshing out of the song too, with drums joining in to give an extra bit of bounce to the song.  Still, the high points on the record go even further in depth with their additional accompaniment.

“Cry for Judas” uses a combination of The Mountain Goats traditional guitar strumming, rolling drum beat and a full horn section.  It’s one of the fullest songs I’ve heard from Darnielle and company, illustrating that while he has a penchant for the intimate touch, he’s continually growing his sound after all these years.  It also gives an emphatic boost to the record’s pacing, much like “The Diaz Brothers” does. Here, the pounding piano and handclap addition, along with some incredibly inspired drumming, gives the whole feel of Transcendental Youth more spirit that what I’ve seen before. Even when dealing with tracks about such lonesome figures, the bright-side of life is alluded to in both the album’s title and the spirit of the songs within.

For all intents and purposes, this is very much a typical Mountain Goats record.  It’s typified by Darnielles unique voice, both as a lyricist and vocalist, but the album is strengthened by full sound, featuring horns and more active drumming.  In doing so, it’s taken what is always a very intimate listening experience and given it a facelift, leaving you with a Transcendental Youth that is both personal and affecting.  Already a fan of the group, I’ve enjoyed this record immensely, and I’m curious to see where Darnielle takes himself next.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/03-The-Mountain-Goats-Transcendental-Youth-Cry-for-Judas.mp3]

Download:The Mountain Goats – Cry for Judas [MP3]

Natural Child – Hard in Heaven

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Rating: ★★★★☆

After catching Natural Child several times over the last year, I’ll gladly say I’m a huge fan of their live sets.  I was hoping that they’d capture that raw intensity on their latest effort, Hard in Heaven, and for the most part they do push that onto listeners. But, when they decide to hold back and slow it down, just a touch, it might just make the record more enjoyable through and through.

When I pressed play the first time, I got exactly what I wanted with “Laid, Paid, and Strange.”  It begins with a furious guitar riff, and the group’s two man approach to vocal delivery snaking their way through lyrics about, well, getting laid and making money. They even add a crunchy guitar solo mid-track just to keep it interesting.  “Rock Bottom” bangs in next featuring fuzzed out guitar stomping and guitar soloing as the rhythm section pounds out a groove that definitely fuels the live energy of the trio.

Then they mix it up, slowing things down for a few, though the next tracks are actually growing to be some of my favorites. “What You Gonna Do” is almost a garage rock ballad, but it’s even slower, with the bass work stealing the show throughout.  And those wild vocals, from the earlier tracks, sounds smoother and polished, in just the right spots–these guys can do it all!  The title track from Hard in Heaven isn’t even close to a ballad; it’s a long, drawn out blue-y jam with some quieted vocals just walking longingly through the song.  Listening to this track will definitely give you more appreciation for the group’s abilities as musicians; there’s not to many people doing it up this way anymore.

And then Natural Child is back at it again with “B$G P$MP$N.”  Sure, the lyrics are sort of juvenile, but it’s clear just listening to the song that the band is having a blast just banging songs like this one out. This is the sort of song that has made these guys so endearing live; they’re passionate, no matter what they’re doing on stage, and I can appreciate that.  Still, the rest of the record is full of more surprises that show the band evening out their sound throughout Hard in Heaven.

“Derek’s Blues” nears the end of the record with a Soutuhern rock influenced jam that nears 6 minutes.  It’s almost like a party rock type, but for those that like to drown their sorrows and good times in cases of beer and bottles of whiskey.  Or there’s the group sing-a-long that ends the record, “Let the Good Times Roll.”  It still has a playful lyrical approach, but even then, there’s a classic storytelling aspect to what their doing.  The song’s mostly a guitar strummed affair, but it’s got bits and pieces of that new Natural Child flare, making it another pleasant winner that keeps me playing the record all the way through.

I guess some might be taken aback at first by this new Natural Child.  But, you can see their mark all over the record, even when they break out a blue-influenced jam.  They’re never going to take themselves too serious, and we all benefit from that. Hard in Heaven isn’t as balls to the wall as I wanted it to be, but after getting to spend some quality time with the album, I’m glad it’s not.  This version sounds more complete than what I had in my head, and I base that on the group’s ability to balance their sound from start to finish, leaving you with a refreshing amalgam of garage, punk, blues, and Southern rock that you won’t want to put down.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/05-BG-PMPN.mp3]

Download:Natural Child – B$G P$MP$N [MP3]

Sea Pinks – Freak Waves

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Rating: ★★★★½

My love for Sea Pinks originally began when I discovered that the drummer of Girls Names, Neil, had started the group. My thoughts were that it would have the same dark jangle rock sound, and I guess the first LP, Dead Seas, does have a bit of that.  But, it didn’t prepare me for the incredible Freak Waves album that I cannot stop playing no matter where I go.

“Lake Superior” beings Freak Waves off with a nice jangling bounce, even including a bit of monosyllabic doo wop moments in the background.  It’s catchy, and it definitely sets the tone for the rest of the album.  That attitude is stepped up almost immediately with “A Pattern Recognition.” The vocals begin in step with the songs underlying groove, with a light guitar wavering in the background.  My highlight though is the vocal delivery during the chorus, just changing the heavier verse into a hint of warming pop as guitars pick up and dance away. It’s perfectly juxtaposed to the psych-pop elements of “False Spring,” which sounds like one of the long-lost Fresh & Onlys tunes.

Then you’re introduced to my favorite moments on this latest Sea Pinks release. It all begins with the refreshing “You’re Not Happy,” which is a song that lyrically I think a lot of us can relate to, not being able to completely make a loved one happy. I’m just in love with how the vocals are delivered in contrast to the heavy drum beat in the background.  I’ve probably played this track 40 times in the last two days. Then it moves into the slowly unfolding “An Act of Treason;” the song begins rather slowly with a twinkling guitar line off in the distance, yet its beauty is truly reached when the chorus of “I can make you cry” is repeated.  There’s something about the change in the vocal inflection that is so affecting and addictive that I can’t get it out of my head, nor do I want to do so. 

Even though the middle of the record has the meat and potatoes of pop brilliance, I can’t sit here and pretend like every song isn’t worthy of your attention.  For instance, I’m completely infatuated with “(Out of) The Capital,” which seems to be a reflective look at one’s life moving forward and away from their roots.  The refrain “I work out of the capital” has been playing in my mind all day long.  The song’s bounce is noteworthy too, but I think once you listen to this track you’ll see that its efforts speak for itself.

Sea Pinks might not be one of the many band’s on many people’s list, at least not yet in the United States, and that’s quite a shame.  I haven’t had this much fun listening to a record through and through in a long time, making this review easy to write about.  Freak Waves isn’t an ordinary record, and those of you looking for something to appease your jangling pop fix might find this one of the best albums to come your way this year. You know what, who cares about genres, this might just be one of the best things I’ve heard.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/Sea-Pinks-A-Pattern-Recognition.mp3]

Download: Sea Pinks – A Pattern Recognition [MP3]

Freak Waves is out now on CF Records.

Unnatural Helpers – Land Grab

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Rating: ★★★½☆

It’s a good thing ballsy rock n’ roll is back in fashion, otherwise the hits that Unnatural Helpers have been churning out up in Seattle might not sound as sweet.  But, that’s not the case, so the short hits from the foursome hit hard and fast, then they’re gone, leaving you with the desire to hit repeat over and over again on their latest LP, Land Grab (Hardly Art).

“Medication” immediately introduces you to the bouncing garage pop side of the group, using a rolling drum beat and catchy guitar line that forces your toes to tap themselves to death.  Vocals are delivered in a sort of spoken word manner, though I enjoy the bratty edge of Dean Whitmore, even when the poppy backing vocals join in.  They’ll stay in the same place for a moment with “Stiff Wind,” although you’ll probably find the guitars a bit more dangerous than on the opener.  Land Grab is definitely a record you can turn up loud while the wind blows your hair straight back.

While the pop element exists in spots for Unnatural Helpers, I’m particular to the more punk leaning sounds that they’ve been able to balance in between the bubbly elements. You’re first real taste of this sort comes via “I Trust It Hurts;” I imagine this song being best sung by Whitmore stalking an audience with sweat dripping down his face–it’s over just as you get yourself moving, which might be a slight drawback. “Hate Your Teachers” is another such song, beginning with a heavy bass sound, which continues with a barrage of noisy guitars and frenetic pacing.  For me, the punk rock ethos pervades the entire album, but it’s good to have the above mixed tracks in here to provide some differentiation in the group’s sound.

All that said, Land Grab has a few incredible hits that weren’t represented in the singles, my favorite being “Waiting Girl.”  It closely represents the poppier side of the band, with forceful riffs blasting through the speakers from the moment the song opens. Here, the vocals have a bit of a cool swing, something you’d find in old UK post-punk records; it’s helped by the addition of vocals that chime in in unison during the chorus.  It might not be the hardest hitting song the band’s got, but I’ll be damned if this isn’t everyone’s favorite track by the end of your listen.

There’s two great things that Unnatural Helpers have going for them, aside from being on a great label: short songs and differentiation.  The short songs are great because with a sound like this, you don’t want to be overbearing or grow too complacent, which is why the differentiation factor is so important.  Yes, you can see a similar strain of thought in the music, but not many of the songs sound exactly the same.  That’s really refreshing considering the genre has the uncanny ability to grow stale after too many repeated listens.  Fortunately for you, Land Grab benefits for the group’s hard work and stylistic choices, leaving you with one of those records you want to turn up loud and play for all your friends.

[audio:https://austintownhall.com/wp-content/uploads/2012/06/UnnaturalHelpers_HateYourTeachers.mp3]

Download:Unnatural Helpers – Hate Your Teachers [MP3]

Land Grab is available now from Hardly Art.

 

The Hermit Crabs – Time Relentless EP

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Rating: ★★★½☆

We’re almost a decade into the excellent career of The Hermit Crabs, a Glaswegian group specializing in jangling guitars and sentimental melodies.  They hit 2012 running with the warming Time Relentless EP, crafting timeless pop songs that every listener will surely find endearing, no matter how many times you play it on your stereo.

We find the group opening with “On The Spectrum,” and Mel opens with a steady vocal that attaches itself to your inner ear from the moment she joins in with the carefully choreography of the guitar.  As she sings of her favorite fella a light backing vocal warms your heart, illustrating the relevance of The Hermit Crabs in everyone’s personal indie pop collection.

“Time Relentless” continues the pop barrage, using a heavy drum beat as the backbone of the song.  Once the guitars take on a more prominent role in the song, you’re going to find it hard to ignore the fact that this group can clearly match any of the work of their compatriots Camera Obscura.  I know it might seem like hyperbole, but each little added touch deepens the emotional appeal, such as the added keyboard wash that hangs far off in the distance of this track.

Perhaps my favorite track on the Time Relentless EP is also its shortest, “Stop This Now.” It begins with a strummed guitar, and Mel coolly singing atop it, but the song blossoms into pop beauty when the lead guitar begins to noodle its way in and out of the track, all the while the rhythm guitar still carries with it a steady strum.  Again, you’ll find the perfect backing vocal assuring you of the pitch-perfect melody in Mel’s voice.  Such a wonderful track.

Closing out the EP is a more melancholy number, which comes to you via “So Blue.” Instead of revolving solely around the guitar and Mel, they use a bit of piano to provide the slowing mood.  For me, I keep hearing the guitar cutting in, as if it’s crying with the emotion of the track.  While it definitely has a change of pace, this is the sort of song that indie pop fans fawn over.

While The Hermit Crabs aren’t necessarily a household name as of yet, you can be assured that those of us in love with the group are begging to share the group’s music with you.  It might not seem otherworldly, but the perfect execution of blissful pop songs makes the Time Relentless EP a must have for all fans of the genre.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/Stop_This_Now.mp3]

Download:The Hermit Crabs – Stop This Now [MP3]

Time Relentless EP is available now from Matinee Recordings.

 

Catherine Irwin – Little Heater

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Rating: ★★★☆☆

It’s not often that I delve into the country-side of the music world, but when I do, it has to be for something pretty special. So when I first began to listen to this second solo record from Catherine Irwin, it was hard to really take notice of the deep songwriting, simple, yet suiting instrumentation. However, what was instantly evident was the copious amount of soul in this woman’s work.            

Such soul is evident on the first track, and runs strong from start to finish on Little Heater; the blood that courses through this album’s veins. “Mockingbird” enters with some gentle guitar and Irwin’s twang-y, classical country vocals. The lack of percussion is made up with the rhythmic strumming and the vocal help that Irwin gets from the backup singers. The result is a fuller sound, with a central focus on the songwriting and lyricism that Irwin brings to the table. The first few songs are pretty mild: “Dusty Groove,” and ”Hoopskirt” pander around shortly after the opener with similarly simple arrangements. There are still other musical elements to spice up the classic guitar/vocal acoustic sound such as some steel guitar and string work.

The heavier, and in my opinion, more interesting numbers come towards the end of Little Heater. “Save Our Ship,” employs Irwin’s deeper range, although her voice never loses that unmistakable country twang. This song stands out after things get a little one-dimensional in the progression of tracks and picks the energy up a little after a long series of songs. A big part of this song is the elegant and somber strings in the background that makes its way to the front of the mix by the end of the song. This plays for a darker, resigned sound that continues on “Pale Horse/Pale Rider.” However, on this number there, the dark aspects come from the bluesy guitar rather than the strings in the background. It’s subtle changes like this that provides for variation within the Irwin’s country style.

At the close of this rather long album, it’s clear that a whole lot of effort and time went into crafting all of these tracks. Despite not being the biggest country music fan, I still found songs that related to my musical palate in their soulful nature, but there is no doubt in my mind that those who are big country fans will love this album.  Such is a testament to the talent of a musician.

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