Tag: album review

Suckers – Candy Salad

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Rating: ★★★☆☆

Candy Salad is the sophomore effort from one of my favorite acts, Suckers.  My first few weeks with the record were tumultuous; I just couldn’t wrap my ears around the slightly polished and less erratic tunes.  But, I’m dedicated to these dudes, and that sort of dedication definitely paid off in the long run.  This record might not be as effortlessly brilliant as Wild Smile, but get to know the album and you’ll find it might even win you over more.

When “Nowhere” starts off, the first thing that really stuck out to me was the absence of Brian Aiken on drums; this track doesn’t have too much of a defined percussive element to it (nor oddball intensity).  That being said, the way the rise of the vocals when we’re “going nowhere” warrant some accolades; it’s a perfect pop moment. Those heightened sort of bursts continue with the stomping “Figure It Out,” but while I enjoy the sonic construction, it seems a bit rudimentary for Suckers.  That’s the issue some might make with this record, but you’ve got to seek out some brilliance that hides within.

For instance, I thought “Bricks to the Bones” was just another of those such tracks, that’s until I got to the third minute of the track.  You’ll get soaring vocals, and the ecstatic pop you’ve come to expect from these dudes. It leads perfectly into the standout jam, “Chinese Braille.”  After a few moments of pulsing you get the Suckers trademark whistling; I think they’re the best at incorporating a good whistle into a jam. For me, this song definitely embodies more of the spirit that I would have expected on Candy Salad; it’s a little bit quirky, still holding onto a certain brightness. Admittedly, I needed more of this sort to completely fall in love.

Much like this first half of the record, there are elements of joyousness for every music fan at the center of these songs, but I guess in the end they lack a little bit of the frivolity that was present on Wild Smile.  “Charmaine” is one of the few tracks that truly seems to capture the live essence of the group, and that’s one of the things (for us at ATH) that made their first effort so addicting.  With this group and their more than memorable live shows you need to capture that spirit in a recording, but these songs seem a touch subdued.  Take another great track from the record like “Turn On the Sunshine,” a joyous song in every sense, but you all know it could be far more killer if Quinn just exploded into the microphone; he’s done it exceptionally well in the past.  Still, you can count this as an otherwise pretty solid track on Candy Salad.

Looking back on the roughly 45 minutes of Candy Salad, you can see that there’s shining moments of exuberant pop, the sort you’ve come to expect from these guys.  But, such moments are hiding in places and absent in others, which leaves you wanting a whole lot more from the group on their second effort.  If you’re a fan of Suckers, you know the band is capable of great things, it’s just that this round they didn’t quite get there, giving us a good effort, but not the great one we expected.

[audio:https://austintownhall.com/wp-content/uploads/2012/04/04-Chinese-Braille.mp3]

Download:Suckers – Chinese Braille [MP3]

Jack White – Blunderbuss

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Rating: ★★★½☆

Jack White‘s pretty much done everything musically speaking at this point: he’s played in various bands (White Stripes, Raconteurs, etc) and he’s produced/written with music legends.  Heck, he even got to date Bridget Jones and marry a British super model, so what does he have left to prove to us?  Absolutely nothing…and that’s the point of Blunderbuss.

Old fans of Jack’s will probably enjoy the album opener “Missing Pieces;” it seems like one of the simpler songs he’s written in a long while, not to mention the fact that his distinctive voice really takes the song’s focus.  It’s also got a muddy feel with the chorus, which provides that raw energy his early White Stripes stuff carried with it. But, he then goes into “Sixtine Saltines,” a tune that I could probably do without.  It’s a definite rocker, so if that’s the Jack you’re looking for then it’s in this song; I just hate that it comes off as braggadocio rather than fragility and ingenuity.  The juxtaposition of the many faces of Jack White is something you’ll encounter time and time again on Blunderbuss.

“Love Interruption” was the first single from the album that really grabbed hold of me because of it’s stripped down structure.  Ruby Amanfu’s presence provides Jack with a familiar female counterpart, but the delivery of the two vocals is something that varies greatly from the work he’s done with other ladies. There’s something about this tune, as well as “I Guess I Should Go To Sleep” that demonstrates White’s ability to work others backing vocals easily into his songs.  What amazes me is that on Blunderbuss they all sort of seem to come off as a bit of impromptu jams, which probably isn’t too far from the truth in the end.  These are great songs that any fan will add to their favorites list.

There’s probably some songs on this album that most people will find appealing that just haven’t sunk in as of yet.  “I’m Shakin” and “Trash Tongue Talker” delve into White’s fascination with traditional blues-influenced rock n’ roll that first won over teenagers in the early years. It’s definitely clever, and his voice is more than fitting, but these songs don’t seem to be his strength–still, you can’t blame anyone for wanting to throw a rocking stomper out there.  Funnily, these two songs (my least favorite) move right into what’s my personal standout, “Hip (Eponymous) Poor Boy.”  This tracks is centered around a nice bit of barroom piano, and what I suspect is a bit of banjo in the background.  It stands out to me because it illustrates just how strong a voice Jack White actually has (no matter how often I forget).  It’s not even the most complex song in the world, but you better believe it’s a sweet tune all around.

With Blunderbuss you get sort of a mixed bag of Jack White.  He throws in a few rockers (not my cup of tea) to appease that side of his fans, but for the most part these are blues/country/bluegrass/barroom influenced tunes that are by and large pretty successful.  I guess there’s only a few stunning tracks on the effort, but he’s still able to accomplish a lot more in one album than most people will do in an entire career; I’ll gladly take a solo Jack over 99.9 % of the rest of the music out there. Such are the gifts of one of America’s finest songwriters.

[audio:https://austintownhall.com/wp-content/uploads/2012/04/04-Love-Interruption.mp3]

Download:Jack White – Love Interruption [MP3]

Tiger Waves – Don’t Be Yourself

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Rating: ★★★★☆

When I first encountered Austin’s Tiger Waves, I was caught off guard by their experimental inclusion of bits of noise that eventually shifted into snippets of grandiose pop.  However, on their recent release, Don’t Be Yourself, the band tends to switch it the other way around–clearly indicative of a band who have grown in their songwriting capabilities. 

“From the Start” begins with a bit of a noise snippet, but the impressive forcefulness of the track quickly breaks into full stride.  Personally, I like how the lyrics are hiding just a bit behind the music, almost like the classic rock we all grew up jamming to in our parents living room, and then it ends. But, the motif of classic songwriting comes in with the hints of psychedelia that are present on “Quebec.”  Perhaps it’s just that jangling tambourine and the affected vocal that gives it the San Francisco effect, but it fits perfectly with the mood of the entire album.

When Tiger Waves breaks into “I Hope You’ll Feel Alright” you can tell that the band has abilities beyond just living with their influences; they’ve created their own sound with fluid movements amidst many of the tracks.  Here, you get almost a quieted chant from the get go, but the lurking backing vocal seems to make way for the entire group to make some mono-syllabic noise in unison.  And this is where you’ll find Don’t Be Yourself really taking hold of listeners, as the record moves into “Summer.”  It’s the sort of constructive pop that recalls bands like Youth Lagoon or Ducktails, but only done more effectively since they’re utilizing the songwriting of an entire group in the studio.  Layering the vocals atop the music on this track definitely creates special moments that you won’t want to miss.

As Tiger Waves prepare to wrap up the whole affair, they close things out with the perfect juxtaposition of their unique sound.  Of course, “I Love You George Harrison” surely harkens back to the careful craftsmanship alluded to in the song’s title–and I’m sure it would make George proud.  But, then you end Don’t Be Yourself with the hauntingly brilliant “Underground.” It’s the quiet atmospheric touches, mellow pacing and steady dosage of pop writing that initially drew me to this band; it comes full circle as the band closes out this EP, going out in quite a fashion.

Hopefully this isn’t your first introduction to Tiger Waves, but if so, do yourself a favor and spend some time with the group’s music.  If Don’t Be Yourself is anything with which to judge these young lads by, then they’ll probably be around for some time, hopefully writing more great tunes such as these.  You can grab this EP, as well as other great tunes by visiting the band HERE.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/14_Underground.mp3]

Download: Tiger Waves – Underground [MP3]

 

Grave Babies – Gothdammit EP

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Rating: ★★★☆☆

When a band tosses out a five song EP, such as Grave Babies have done with Gothdammit, it’s often difficult to see it as much more than a stop gap along the way to the next album. But, regardless of where this lives in the band’s on-going catalogue, there are definite steps being taken here towards positive progression.

“Fuck Off” is the start to this rather short affair, but in the matter of time, it’s the longest, although you could easily skip beyond the first minute or so; the band uses the moment as an intro, but you can hear the crackling of the stereo that takes a large precedent over the recording. When the song kicks in, however, it’s just this delicious post-punk moment, possibly hinging upon “goth.”  Brooding bass lines definitely benefit the sound, with the drums seeming a touch to hollow and metallic; this is my stand out track on the EP.

Musically, I dig the following track, “Mourning Heir,” particularly that lofty guitar line, but this is the track where I think the recording process began to lose a little bit of the plot overall.  There’s something about the shotgun sounding drums that just doesn’t do the live show, nor the record itself, any justice.  It ends up sounding muddied like the band blew your speakers out.  A bit of the composure returns for the third track, “Nightmares,” with the pop senses taking a bit more of a leading role on this song in comparison to the heavy hitting drums.  Listening closely, you’ll see that there’s musical genius lurking just below the surface.  Then the band seem to get move in another direction…entirely.

With the first three tracks dabbling in noisier, goth-affected post-punk, the last two songs seems more to delve into sonic exploration.  They’re not nearly as focused on the songwriting here, relying more upon heavy chant-like vocals as on “Bloodstains.”  And “Wasting” seems to regain a touch of the songwriting capabilities, but it’s still not quite up to par with the three primary tracks featured at the onset–perhaps it’s just too short to really find its groove.

You see, this is the problem with EPs like Gothdammit: you find some great moments that get you really excited; you also find some areas where execution could be much stronger.  Personally, I think there’s a good future (and a good market) for a more concise version of the first three song–maybe cleaning up the drum sound.  Should they choose to go in that direction, things could get big real fast.  Should they choose to go in the other direction, there’s a market there too—either way, I’m sure they’re good, I just have my preference.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/GraveBabies_Nightmare.mp3]

Download:Grave Babies – Nightmare [MP3]

Gothdammit is out now on Hardly Art.

Whitman – Weekends

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Rating: ★★★½☆

It’s been quite a while since locals Whitman put out their debut album, Torch Songs. Since then their style hasn’t really changed too much; they’ve maintained a classic alternative sound while not getting too serious. Weekends is no exception to this style, delivering quality tunes that fall easy on the ears.

The album creeps out slowly, with Ram Vela’s vocals whispering through layers of echoes and atmospheric sounds on “Technicolor Blues.” It’s as though the band is feeling its way into your ears, analyzing the space that they are going to fill before they really kick into things. This kicks comes in the last forty or so seconds before the first song has met its completion. At this point, it’s clear that Whitman has woken up, and continues to pick up the pace on the second song, “NW Thurman.” Jumping right into things, Vela’s Ted Leo-esque raspy chords leads you right along, bounding atop bouncing piano and some “Ooh la la’s” in the background. Immediately on this track, there is that ‘good times’ mentality that this band perfects. It’s the perfect kind of song to bob your head easily along to and perhaps dance a little if you’re feeling up to it—it doesn’t demand anything.

This easy rock-n-roll continues through the duration of the album, exploring highs and lows, crazy times and falling-outs. “Barstools” comes across as a bitter recollection of a friendship gone astray. As Vela sings honestly that he would “rather be falling off barstools than hanging with you,” the electric guitar growls, the cymbals crash violently, and some synth all rage along with him, and it feels as though the song consists entirely for the purpose of driving this hated friend away, making sure he knows he isn’t welcome anymore.  Later on, Whitman slows things down a bit on “Manchester-By-The-Sea,” whose soft nature serves as a nice little meander from the consistent full-tilt pace. This song relies on a gentler strumming of acoustic guitar and instrumentals that stray from the buzz of before and we see a more delicate Whitman. The album finishes up with “Day Drink Part 1” and “Day Drink Part 2” which brings things back up before it reaches its conclusion.

Weekends is exactly what its name entails: relaxation. There simply isn’t a song on here that requires more than a good attitude to enjoy. With the weather warming up around here, count on this album to be perfect for blasting out of your open car windows.

Literature – Arab Spring

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Rating: ★★★★½

No mincing it, we love this band. So much so that Nathan has Austin Town Hall backing the vinyl which can be ordered here. So why do we need to review the record? Probably because it is warranted. A recent blog post by Michael Corcoran lamented the mediocre Austin music scene. I simply retorted you aren’t trying.

Make no mistake, there are jams being laid down by several bands born of the Live Music Capital and Literature is one of the bands doing it in their blue collar, super pop way.. So let’s examine Arab Spring.

The album opener is a gentler affair, easing into the poppy blasts that are coming. And blasts they are with the longest track weighing in at an impressive 2:51. This pace creates the punk tension, stay on top of it, or you might miss something. So, “14 Seconds” features a break midway of guitars, a recurring theme for the rest of the album. Great introduction to the band and the interplay of Kevin and Nathaniel on vocals.

“Lily” starts to really show off the melodic constructions, from the vocals to the building guitar layers. Has a feel of Arctic Monkeys in the best way, without accents and over indulgence. “Push up Bra” brings unleashed pop, jangly riffs, quick lyrical delivery and festive backing vocal destined for sing along participation. “Criminal Kids” starts the swing into my favorite span of the album. “This town scares me.” – attributable to Corcoran? The band follows with “Arab Spring”, the title track, “Then there is you, and others too, that will be left uninvited.”

“Grifted” and “Rooney” are two songs I would use to show off our Austin scene. The former is my high point, best opening hook I have heard in a long while. Nice breakdowns and layering as the vocals resume and proper use of keys to settle the song in for the outgoing jam. The latter is the biggest song on the album, another great guitar hook that climbs and gives way to loud chords. The short run time just makes you want to play it again, right away. Again, trading vocals, trading guitar lead, all while Mike and Seth run the show with the rhythm section.

The album’s finish is composed of a three song set. “O.J.” is the tender vocal moment with a great climbing and falling bassline from Seth. “Esquire Esquire” asks what am I supposed to do? when I can’t win, can’t lose. The finale, “I am Right Here”, doesn’t let us off easy; staccato, fast, short and sweet. Vocals are delivered in a matter of fact way.

So what do I want to complain about? It is over too soon. But it has to be. Arab Spring as a collection of songs is fast, to the point and leave you wanting to do it again. Literature captures the essence of pop, bridging gaps, sometimes more serious and sometimes more playful. Most important, the album shows where we are going. Things are breaking down and our “scene” is getting back to basics. It is time to have fun at shows. It is time to get sucked into two minute blasts of energy, take a short break and do it again.

[audio:https://austintownhall.com/wp-content/uploads/2011/12/06-GRIFTED.mp3]

Download: Literature – Grifted [MP3]

Here is a little video of the song “Rooney” taken a few months back…

[youtube width=640 height=390]TlA-CkpYUWM[/youtube]

 

Gentleman Jesse & His Men – Leaving Atlanta

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Rating: ★★★★½

Jesse Smith didn’t have the best year last year; he was mugged while helping strangers in Atlanta.  You couple that with the title of the album, Leaving Atlanta, and you figure that the record might be a bit of a bummer, giving us songs about one man’s struggle to leave his favorite town.  However, all tragedy aside, Gentleman Jesse seems reinvigorated, leaving us with his best offering to date.

“Eat Me Alive” in its title prepares the listener for what one would assume is a condemnation of Atlanta, and for all intents and purposes it might just be that, but Jesse doesn’t seem willing to give in, singing “it’s as good a place as any to try and survive.”  Whatever his feelings, he’s going to stick it out in Atlanta, clearly having given birth to some of Jesse’s best tracks.  On the whole, the record’s filled with seemingly desperate titles such as “I’m a Mess” or “We Got to Get Out of Here,” but there’s something else taking root in Jesse’s songwriting, helping move him beyond simple power-pop.

One example of such a change is the album’s stand out track “Careful What You Wish For,” which is as close to a ballad as Smith has written to date.  Indeed, there’s jangling guitars aplenty, but the inflection in his vocals gives listeners a glimpse into a more introspective Jesse.  Personally, I can listen to that chorus line over and over again.  There’s also “Take It Easy on Me,” which is another slow moving song, but it’s also one of the tracks that really provides you with a look into the soul of Gentleman Jesse.  At first it looks almost like a love song, and I suppose that it is, but with the personal history public knowledge, it almost seems as if he’s asking for the city of Atlanta to show him a kinder side–the side that made him fall in love with it in the first place.

Leaving Atlanta will keep long-time followers pleased throughout, leaving us with plenty of power-pop goodness, albeit on a more serious note.  You’ll find a sing-a-long foot stomper in “What Did I Do.” It’s the classic sound you’ve come to know from Jesse, making way for the more potent track that follows, “You Give Me Shivers.” While the song blasts off with a jittery burst, it settles into a fast paced tune of glorious power-pop that makes being a fan of the genre so enjoyable.  With these sorts of songs, and a bit of introspection, we’re seeing a nice evolution from Mr. Smith.

Gentleman Jesse has been playing music in various outfits for some time now, but this is by far the best he’s sounded on record.  Leaving Atlanta benefits from a few subtle stylistic changes that change the mood of the listener, providing an escape from the slight monotony you found on his first record.  Regardless of the circumstances surrounding his life, and possible move as suggested in the title, it’s clear that Atlanta’s been great for Jesse, leading him to write his best collection of tunes to date.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/eatmealive.mp3]

Download:Gentleman Jesse – Eat Me Alive [MP3]

Evans the Death – s/t

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Rating: ★★★½☆

When you sit down to put a Slumberland Records release on the old turntable, you’re pretty much assured that you’ll find some sort of comfort or joy within the various revolutions.  But, when I put on the self-titled debut of London quintet, Evans the Death, I had no idea that it would bring an abundance of vibrant joy my way; it’s all over the place in the best way, and every individual will have his or her own favorite jam.

Don’t let that bubbling bass line that opens the record’s “Bo Diddley” fool you.  If you wait a few minutes, you’ll see the star of the band is clearly Katherine Whitaker.  Her soaring vocals clearly transcend the music itself, and its affect is almost immediate; at times it comes off punky, other times pristine–this is just the first track.  But, let’s not make her the sole reason your buying this album!

“Catch Your Cold,” the second track on Evans the Death is the song that really lets the band’s prowess seep into your ears. Those ringing guitars played at lightning fast speeds give you that classy indie pop sound we all adore, and companied with Whitaker’s darkly-tinged vocals, it’s just a brilliant track.  You’ll find it in similar territory as the group’s first single from the release, “Telling Lies,” which might just be the most unassuming smash hit of the year.  While the rest of the group has this jagged approach to their guitar playing, Whitaker has your head spinning about with her remarkably strong pipes.

Surely, you’ll notice that a great deal of this first effort from Evans the Death is full of upbeat numbers, but, what makes this a more than adequate debut are the mellower numbers stuck within, leading you away from the monotony.  “Morning Voice,” while holding onto some noisier elements, is largely a quiet song, if only in sentiment.  Katherine comes across in an entirely different manner than she’s been presented up to this point, seemingly frail beneath those gentle vocal touches.  The more I played this track, the further I fell for it–you probably will too. You’ll encounter similar circumstances when you wrap up the record with “You’re Joking.” It’s a lightly strummed closing track, again putting Whitaker prominently at the forefront of the band’s sound.  There’s not louder guitar bursting forth here, but it’s not needed here, as the emotional quality lays solely with their female leader.

For a debut, this is a pretty stellar release, as the band comes across extremely accomplished with a powerful leader at the helm.  You can look beyond some of the songs that have a tendency to sound similar, choosing to find the unique qualities lurking within.  With more time, the whole record eventually sinks in together, leaving you with an enjoyable album you’ll want to play over and over. We can thank Evans the Death for that.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/05-Telling-Lies.mp3]

Download:Evans the Death – Telling Lies [MP3]

Bear In Heaven – I Love You, It’s Cool

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Rating: ★★★★☆

The difficulty for Bear in Heaven with I Love You, It’s Cool is how do they push beyond the limitations they placed on themselves by creating a brilliant first album, Beast Rest Forth Mouth? Surely, they were aware of the difficult task ahead of them when going into the studio, which probably only increases the anxiety of making a record. But, luckily, they’ve come out on top, crafting an album of electronic pop songs that if anything, only increases their accessibility, guaranteeing them further success.

For me, album opener “Idle Heart” is the perfect identity statement by the group, delving into a sort of electronic wash for nearly a minute, shortly before the lyrics open up the melody.  There’s a particular brightness that lurks beneath the surface of the track, providing them with the ability to reach a new, larger audience.  It’s the sentiment one expects a band to make upon their return to the indie limelight with I Love You, It’s Cool. They continue in the vein of bright electronic-pop with the following track, “The Reflection of You.” This is perhaps one of the standout tracks on the album, but it’s also a reminder at 4.5 minutes (more or less) that pop songs can be drawn out, furthering the emotional release for the listener.

When Bear in Heaven pull out the pop stops in a song like “Sinful Nature,” it becomes evident that the group has evolved into something entirely different from their previous affair.  Driving synthesizers propel the melody, but there’s this wash atop it all, sort of reminiscent of Republic era New Order.  It makes almost every song perfect for the dance floor–or wherever you choose to shake it. However, they still mix in some varying sounds, making this more than just your run of the mill dance record.

On “Kiss Me Crazy” there’s flirtations with negative space within the song, almost from the opening moment, especially when you fit in the drumming. At times the percussion doesn’t fit the tempo of the track at all, yet it falls precisely into place when looked at from afar. Another song on I Love You, It’s Cool that helps further this idea is “Space Remains.” It’s perhaps one of the grittier tracks on the record, reminding you of the band’s earlier work; it has elements of electronic noise covering an inherent danceability. And, by placing it near the end of the collection, it also serves to break up the monotony one can find in long electronic albums.

Bear in Heaven don’t seem to be breaking any new ground with this record, but they seem to be evolving on their own merit.  I Love You, It’s Cool will remind listeners and fans that the band are definitely one of the premier electronic acts trucking about the world today.  They’ve definitely got their own musical concept (and a visual one live!), and you’ve got to credit them for sticking to their guns, pushing ahead, and giving us another killer collection of songs we’ll play for some time.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/Bear-in-Heaven-The-Reflection-of-You.mp3]

Download:Bear in Heaven – The Reflection of You [MP3]

La Sera – Sees the Light

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Rating: ★★★★☆

In 2011, Katy Goodman stepped away from the Vivian Girls and made her first record under this new moniker. That album was the essence of a dream, with echoes upon echoes of vocals layered on ethereal pop instrumental in the background. A lot must have changed since then; relationships broken, new attitudes adopted, and an overall new sound for La Sera on Sees the Light, a sound which goes in a bold, good, direction.

From the very start of the album you can pick up on the new changes for the band. If it’s any indication of a change, the first track on the self titled release of last year was “Beating Heart,” whereas Sees the Light begins with “Love That’s Gone,” and we have the new, bitter and resolved Katy Goodman. Instantly you can hear this change in the music: the dreamy washes of echo on the vocals are gone, the drums are more centralized, giving a real and solid feel to the song. It’s as if the honeymoon period of dreams is over and what’s left is a woman scorned, trying to move away from the gay melodies of yesterday.

After the first song gets things going on Sees the Light, the second song, “Please Be My Third Eye,” takes it up a notch, increasing the pace and the level of intensity; the drums are always pushing, the guitars are guttural, and Goodman commands the song, pushing it around to show her strength. This strength continues on through the next few songs, and then enters into a more reserved state on “It’s Over Now,” which is the first real breakdown on the album. The placement of this slower, more morose song this far along into the progression of tracks helps to convey some emotion that is perhaps lost on the faster songs; Goodman doesn’t ignore the pain completely, she just channels it in different ways.

Essentially, it’s a break-up album, but whereas most of those tend to linger on the whiny, sorrow-filled, my heart was broken-listen-to-me cry-about-it, songs, La Sera focuses on channeling this sorrow into faster paced, bolder, and overall stronger pop tunes. It’s not a step to weakness, but rather a step away from it, and a focus on the strength that has always lied behind those spunky, girlish vocals. The emergence of this lingering power is what separate Sees the Light from the previous album and allows it to stand as a cohesive album as opposed to a series of cute songs strung together.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/La_Sera_-_Break_My_Heart.mp3]

Download: La Sera – Break My Heart [MP3]

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