Tag: album review

Strawberry Whiplash – Hits in the Car

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Rating: ★★★★☆

It’s strange to think that Hits in the Car is truly the debut record for Strawberry Whiplash; seems like I’ve been posting their singles or B-Sides for years now.  Regardless, this collection of thirteen great pop tunes is pretty spot-on for a debut, going between infectious indie pop and noisy janglings; its all worth every minute of time you invest, and one can only suspect that you’ll get more back the more you put in.

Perhaps one of my favorite attributes of this sort of pop is the simplicity of both the entire construction, from song title to the execution of the track itself, it’s no small feat to pull this off as well as Strawberry Whiplash does.  Take, for instance, “Everyone’s Texting,” which might seem like sort an arbitrary song, as we’re aware everyone is definitely texting.  But, from the slight jangle in the guitar work, to the steadying drum beat, the song is more than just plain commentary; it’s pristine pop.

For me, one of the best things about Hits in the Car is the effortless playfulness that seems to coincide with the group’s work.  You can listen to “What Do They Say About Me” and hear that nostalgic swirling guitar, but Sandra’s vocals, purposefully stuttering at points, show both the fun and attention to detail that goes into pop like this.  Even smashing hit “Stop Look and Listen” plays with the vocal delivery, which either demonstrates the fun they’re having, or just their reliance on capturing the perfect hook–it all works for me.

Even more promising is some of the slight experimentation that comes into play on the album, showing that Strawberry Whiplash have other places they’re willing to go, musically speaking.  “It Came to Nothing” has this great little power-pop swagger to it, as Sandra sings gently atop it all.  Or you can listen to the band as they dabble in the noise-rock territory, one of the few songs where Laz takes control of the vocal duties.  The other track where he features prominently is “You Make Me Shine,” a song that sounds remarkably like something you’d expect the Magnetic Fields to craft. You’ve got to credit a group that aren’t willing to be pigeon-holed by their own sound, or the masses for that matter.

When it boils down to it all, you can easily write about each one of these songs as great singles, and assuredly that’s what the group intended with the titles Hits in the Car.  What’s surprising is that they pulled it off, rather successfully.  You can listen to Strawberry Whiplash‘s new effort bits at a time, or as an entire collection, but no matter what, you’re going to find yourself loving it.  It’s simple, it’s poppy, it’s experimental; really, it’s just a gem of a record.

[audio:https://austintownhall.com/wp-content/uploads/2012/03/straw05.mp3]

Download:Strawberry Whiplash – Now I Know It’s You [MP3]

The Shins – Port of Morrow

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Rating: ★★★★☆

If you seriously still don’t know who The Shins are and call yourself a person interested in music I would have to call you a liar! Well, not exactly, but if you’ve been anywhere close to the indie scene since the turn of the 21st century, you should recognize James Mercer’s usually scruffy face as the front man of this band. Whether you’ve known about it or not, the Shins made indie pop classic, releasing three albums that gained them a cult following that has been dying for some new tunes since their five year hiatus. With such a long period between the last release, you walk a tightrope. Stay with what you know and be labeled boring, or move into sacred, fragile new ground and run the risk of not sounding like yourself?

Yes, it’s the fourth album from the The Shins, but it feels the most youthful with respect to energy. Mercer’s voice is louder; it’s in your face, whereas it used to blend so tightly with the guitars. The guitars are more active, exploring twists and there’s an element of jangly that you just can’t really find on prior releases. Take songs like opener “The Rifle’s Spiral,” the single “Simple Song,” and “No Way Down” as testaments to this heightened energy. Each one explores a new and different level of bursting brightness. “The Rifle’s Spiral” gives you layer upon layer of guitar hooks and tinkling high notes embedded into the synth noise. “Simple Song” goes for the prominence of Mercer’s voice that commands the song as it moves through at its confident and collected pace that is expected of this band. “No Way Down” explores a faster pace, with less synth noises and a reliance on sharp-witted lyrics as its champion. All of these songs explore the old Shins style in an updated and fresher filter.

But it’s not all sunshine and daises—there are slower, subdued moments. For me, I feel nods of nostalgia for the older albums of this band on a song like “September,” whose simplicity is well placed and crafted amidst a sharper than expected grouping of songs on the primary half of the album. Another slower number, but by no means boring track is “Port of Morrow,” on which a falsetto’d Mercer leads you twisting through the tale he has crafted.

And in the end, Port of Morrow is a tightrope walked fairly well. Mercer doesn’t fall into the pressures of being anything he is not, he just pulls more quirky yet insightful material from his past and weaves them together with a brighter overall tone, which may stir mixed feelings from past fans and newcomers. It’s unfair to expect “New Slang” Shins after all this time; things have changed. However, you can still expect a relevant and resounding collection of classic indie pop tunes on this album.

The Wedding Present – Valentina

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Rating: ★★★★☆

Eight albums into their career, or into the career of David Gedge, The Wedding Present are still just as strong as ever.  Gedge may not be one of the household names, but his band is well-regarded in most circles; Valentina is an album that will definitely sustain that status, and might even build a bit upon it.  In the end, who really cares as long as he’s still making great music.

“You’re Dead” begins the 8th studio recording with the formulaic drive that’s led me to fall head over heels in love with The Wedding Present; it begins with a quiet build-up, then blasts away during the chorus, giving us the loud element, then returning.  It’s back and forth, with Gedge’s discordant guitar ringing as loud as ever. What long time fans, and hopefully new ones, will adore is that his playful songwriting is still intact, including this song’s (and album’s) best lyric: “you appall me/okay, call me.”  Who says loud rock songs can’t be fun?

There’s a bit of a reservedness in Gedge’s writing this round, though the last while has seen him dabbling in such waters (Cinerama especially).  “Meet Cute” definitely isn’t a reserved quiet song, as the guitar’s do unleash that brash forcefulness I love, but something about it shows a bit more thoughtfulness in delivery of the vocals.  It’s interesting; the music is as loud as its ever been, but the lyrical content has the lovelorn DG at his best, providing what some might deem simple relationship wisdom–personally no one does it better!

Valentina still packs the punch you expect from a Wedding Present effort.  “Back a Bit..Stop” rings in your ears with that angular guitar playing from the moment you press play on the track.  This is the first time, too, that I really noticed the remarkable drumming on a Gedge album (not saying it’s ever been bad). Charles Layton pounds away to perfection, completing the band’s sound like you haven’t heard before. It’s definitely an added bonus to the entire listening experience.

Perhaps the most remarkable thing about the current Wedding Present line-up is how dynamic the group sounds.  Pepe le Moko’s female vocals, which Gedge has used in the past, still give an extra level to the sonic style of the group.  “Fidelio” is one such track where her playful backing vocals give an extra flourish to Valentina. And of course, the quartet still has those long burners that you adore, such as “Mystery Date” or “Dear Caught in the Headlights,” the former being one of the slowest burners you’ll find in David’s catalogue.  It would be interesting to see where they would all be now if the current line-up had started things initially.

The Wedding Present is perhaps one of my favorite groups, period.  Their songs appeal to me on the musical and lyrical level, which isn’t something I always get nowadays.  Sure, not every song here is a definite stand-out, but every single one is better (to me) than most of the other music that’s currently out there.  Valentina just proves what we all knew all along: David Gedge is simply incredible, and we should all be thankful he doesn’t seem interested in going away any time soon.

[audio:https://austintownhall.com/wp-content/uploads/2012/03/02-You-Jane.mp3]

Download:The Wedding Present – You Jane [MP3]

The Men – Open Your Heart

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Rating: ★★★★½

2012 has been a really good year for rock n’ roll so far, and The Men aim to keep that spirit up! Their third LP, Open Your Heart (out now on Sacred Bones Records) is filled with pummeling rock that begs to be classified.  Is it punk? Hardcore? Maybe post-punk? Truth is, there’s no way you can really label everything they’ve done here, crafting an album that fits into all the above categories, yet never stays in one place for too long.

“Turn It Around” opens up the record in furious fashion, if you just wait ten seconds.  From there, the sound kicking out of your stereo will surely have you pumping your fists in the air.  Perhaps what’s the most interesting is that the group fills their songs with elements of classic rock, they just play it faster than everyone else around.  The Men will keep this spirit up with “Animal,” a song that has a bit more of a growl to it.  You can see remnants of New York Dolls (it can’t just be me), only with a heavier element–though it’s often balanced with a female backing vocal track.  From the get-go, you’re getting kicked in the mouth, and you’ll happily offer up a toothless smile while you rock along.

But, what makes Open Your Heart worthy of repeated listens revolves around the band’s ability to sort of play with more than one formula, while still maintaing their own identity.  For just a moment, albeit a long one, you get “Country Song” and “Oscillation,” two sprawling instrumental tracks that span over 12 minutes in length (when combined). It’s no wonder that their bio mentions allusions to Thurston Moore, although they don’t seem as discordant in their style.  It’s a nice moment for you to pause and reflect.  Yep, this album still rules.

And then we’re off again, with the soaring gang vocal moment you’ll find on “Please Don’t Go Away.”  Stylistically, you can see some resemblance to noisier indie bands like Dirty on Purpose, with The Men not afraid to add elements of melody all the while pounding away.  Throwing this track in the middle of the album provides that perfect conundrum, yet again illustrating a group who’re willing to throw all their influences into their songwriting. “Candy” is yet another such track; it’s almost a country ballad.  Even if it seems unexpected, it’s tied into the album perfectly, using a seemingly lo-fi recording to hold true to the band’s form. For the rest of the album, and really for its entirety, the band go back and forth between sounds, finishing with “Ex-Dreams,” a tune that’s unified by all the band’s possible nostalgic nods.

Open Your Heart might just be a record that we’ll look back on years from now, grateful that someone wrote it.  At times it’s intense, yet still has points where you can sit back and absorb the goings-on rather than have them browbeat you.  The Men have concocted their own formula for writing a record, and it might just be a lasting formula more bands look to in the future. You can be fast and loud, but you can throw that slow jam in there just for kicks–if you execute it like this, we’re all going to love it.

[audio:https://austintownhall.com/wp-content/uploads/2012/03/06-Open-Your-Heart-1.mp3]

Download:The Men – Open Your Heart [MP3]

The Magnetic Fields – Love at the Bottom of the Sea

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Rating: ★★★☆☆

Personally, The Magnetic Fields is one of those bands that I can’t explain to people, let alone explain to myself.  For almost two decades Stephin Merritt has used the group as his primary outlet for songwriting, but the last couple of years he’s definitely led the group in varying directions, with various effects.  For all intents and purposes, Love at the Bottom of the Sea is a great return to form, demonstrating the prowess of Merritt and his band of merrymakers.

“Andrew in Drag” is the second song on the record, but it’s so phenomenal it’s hard not to start with such a track.  The sound’s definitely on the more playful side of things, at least with the accompanying instrumentation, but Merritt’s soaring voice will win you over.  His gifts as a poet, oddball that he may be, shine through here. “Your Girlfriend’s Face” has the same childish tone in the lyrical matter, which harkens back to the days of 69 Love Songs in its accessibility and clarity.  Electronic flourishes seem to be the sound du jour on this outing, rather than the more distortion-based tracks we found on the last two efforts.

“I’d Go Anywhere With Hugh” is a great track, featuring vocalist Claudia Gonson, but what really sticks out is its remarkable similarity to Bob Dylan‘s “You Belong to Me.”  I’ve played this song so many times tonight that I’m not sure if I love it for its similarities or on its own merit; regardless, you’ll find this song playing in your mind for days to come. What does stand out when listening to this song is the vocal presence of Gonson throughout Love at the Bottom of the Sea, though I’ve always found myself gravitating more towards the Merritt led tracks.  She’s got a certain light-heartedness in her tone that makes it easy to find that union between music and voice; the band’s usage of electronics definitely fits Gonson here.

But, with Gonson taking a more prominent role here, Merritt seems oddly missing for parts. Of course, “I Don’t Like Your Tone” finds Merritt gently wooing the audience, using the deepness of his voice to draw you into the song.  However, when he comes in on “All She Cares About is Mariachi” it sort of seems like a one-tone approach that he’s used on this Magnetic Fields effort, minus the outstanding “Andrew in Drag.”  I guess I miss the man on the oft-overlooked i.

For all intents and purposes, there are some great songs here on Love at the Bottom of the Sea–one that’s probably goes down as a top in the band’s long cannon.  However, the songs by and large just don’t stand out the way you expect from a Merritt penned tune.  You’ll find the juvenile playfulness and short songs, but for once, theses tracks don’t demand your attention and adoration; they sleek by as cute and enjoyable, yet not wholly remarkable. I’ll still stand by this as a good record, just not my favorite from The Magnetic Fields.

 

Bowerbirds – The Clearing

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Rating: ★★★★½

It’s been about three whole years since we last heard from Raleigh’s Bowerbirds; their last effort Upper Air definitely warmed all our hearts.  After one listen to The Clearing, you’ll be glad the band waited; this record’s assuredly the best thing they’ve put together with their unique blend of folk, strings and sweet melodies.

Momentarily a guitar is plucked as “Tuck the Darkness In” begins, but the band quickly adds a minimal percussive stroke to the track.  A gentle piano accompanies Philip Moore on his vocal foray, just before strings join in to sweep you away in a stupendous melody. Moore’s voice is often united with Beth Tacular too on this number; they’ve created one of the most beautifully warming songs of 2012. But, Bowerbirds aren’t just going to let their melodies swell over and over again, as you see on “In the Yard,” where Beth takes the lead singing role.  Their approach here is less grandiose, yet the union of Moore and Tacular again creates moments you’ll have a hard time getting out of your head.

The Clearing has the group really working with their sound, providing more intimate details to the negative space, crafting a sonic experience not unlike Wye Oak.  “Brave World” holds this quality, especially with the percussive element and the piano that flesh out the song itself, though clearly you can say that Moore’s vocals steal the show. Similarly, the following track, “Hush” goes about things in the same manner, allowing the song to really come to the listener, rather than forcing melody on us.  While it remains clear through moments like this that Bowerbirds have changed their musical dynamics here, such progressions really highlight the band’s writing gifts.

You’ll still find the band working with their bread and butter, however, especially with songs like “Death Wish” and “Sweet Moments.” The latter uses little more than a strummed guitar and some oddball additives to fill the space, but it remains mostly a folk-driven track.  “Death Wish” has some deep string arrangements that provide sort of a haunting emotion, which perfectly juxtaposes the soft quality of the Moore’s voice. I’m moved each time I listen to that darkened string element creep into the track.

It all comes to a fitting end on the closing track, “Now We Hurry On,” which is sort of a track that’s compiled all the elements that are present on The Clearing into one final statement by the group.  There’s tinkering piano parts, traditional folk moments, and yet quietly fades out in the end, just as a perfect record should do.  After a three year absence, the time appears to have been well-spent for Bowerbirds; they’ve advanced their sound to a degree that will surely find them reaping huge rewards.  It’s truly a listen that will reward you time and time again.

[audio:https://austintownhall.com/wp-content/uploads/2011/12/01-Tuck-the-Darkness-In-1.mp3]

Download:Bowerbirds – Tuck the Darkness In [MP3]

John Wesley Coleman – The Last Donkey Show

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Rating: ★★★½☆

John Wesley Coleman might not be a household name all over the place, but he’s kept himself busy shooting videos, writing songs and hanging out.  Such a storied life leads to his association with the troubadour sort, but when listening to his latest effort, The Last Donkey Show, his work seems a lot more focused, making way for one of his best collections of songs.

Immediately upon pressing play, you experience the whirling-dervish that is John Wesley Coleman, as the organ pounds, the vocals yelp in and out, and the writing all comes together; it’s a confident man we find here, happily doing his thing behind the microphone.  You’ll find yourself pushing ahead to the album’s single, “A Clown Gave You a Baby,” which is a lot more straight-forward than the title might suggest.  The chorus alone will show you just how much Coleman’s progressed as a songwriter, making his unpolished voice sound as warm as you’ve ever heard it.  Such signs are a positive start to The Last Donkey Show.

For me, it’s always been the playfulness with which JWC approaches his songs–not just in the title.  “The Howling” takes a dark ballroom ballad in its sonic tones, using various horns to accompany the vocals.  The repetition of “howl, howl” drives home the narrative, yet it also shows his willingness to lean on his outlandish creativity in his writing. Such tracks are significant because they demonstrate the variance you’ll find throughout the entirety of The Last Donkey Show–a great strength.  A song such as “Misery Again” definitely appeal to the sad-bastard sort, but in a quirky way that puts John in a class all his own.  It’s possible it might just be a good country ditty done by the troubled sort, yet I’m inclined to appreciate this softer side, especially after playing the album’s closer, “Flower in the Dark” on repeat over and over again.  This is definitely a ballad like few songs Coleman’s written before, using slide guitar to accent his carefully picked guitar lines.  It’s as honest a song as I can remember, and it immediately makes you press repeat, hoping to capture the magic of the track again.

Still, there’s enough of that ramshackle pseudo-Replacements approach to rock n’ roll living on The Last Donkey Show, especially with songs like “She’s Like Dracula.”  The guitar approach definitely feels like something Westerber would have thrown down, but it’s the use of horn blasts and extra flourishes that makes it all John Wesley Coleman.  You see, this whole record is all over the place, but I think that’s what has grown to make this man so endearing to his fans.  His work doesn’t stay in one place for long, so it never goes stale.  He’s willing to push himself, as well as the expected boundaries of the troubadour genre, demonstrating to us all that we’re fortunate enough to witness such a great talent alive and rocking in our lifetime (and in my hometown!).

The Last Donkey Show is available from Goner Records now, and you can check out the video for “Hanging Around” right HERE.

Shivery Shakes – Shivery Shakes EP

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Rating: ★★★★☆

It’s hard to rise to the top in Austin, but over the last year Shivery Shakes have certainly made a nice name for themselves.  For the first time, the masses will get a chance to hear recorded tunes as the group releases their Shivery Shakes EP; it lives up to all the promise we’ve been fortunate enough to see grow over the last year.

A bubbling bit of bass begins off “Our Nights” before the boys start to their jittery jangling.  You’ll find a bit of youthful innocence in the group’s approach on this jam, which is exemplified by singer William’s voice, not to mention the gang vocal approach.  Personally, I dig the nice surf-ish guitar solo that comes in near the end of the number.

By the time you get into “Say,” you start to see the boys hitting their stride, as a little bit of that live energy begins to seep though the sounds on the EP.  You can almost feel yourself swaying with the cutting guitar lines, just as one would do when dancing with the Shivery Shakes in the live setting.  Perhaps, the vocals are a tad rough, but that exuberance is exactly what makes the group so charming live, so lets not get nit-picky.

The effortless cool of “Stay Young” should help make the band branch out beyond the realms of Austin.  At first, you get a bit of that sunny shakiness the band often employs, but the chorus is where they really kick your teeth in with pop goodness.  As William begins his guttural shout with “I’m too young to die/you’re too old to lie” you can really feel that energy coming through your speakers; it’s a remarkable feat for a first effort.

All day long though, “Temporary Vacation” has been where it’s at in my head.  For some reason, the story of creating your own vacation while dancing with a friend/lover in your living-room with your favorite record spinning fits my current daydreams. The group employs a bit of a stomp too about midway through the track, which offers up just enough differentiation to keep the sound of the EP fresh.  Oh, and it’s got whistling too!

“Wait” closes out the short effort in grand fashion.  There’s grit on these guitars, despite their ability to flesh out gorgeous pop melodies.  William’s seemingly distant vocals are accompanied by the rest of the group joining him to provide a sublime choral moment.  This is one of those songs where you can see the group fit all their influences and touches into one tight song.

In conclusion, Shivery Shakes are a rising star in Austin, but with songs like this, they should hopefully start to seem some recognition elsewhere.  They combine bits of Cali sun-pop, group harmonies, jangling guitars and steady drumming; in doing so, they create a short effort that’s both breezy and cool, begging to be turned up loud while you open the windows and let that Spring wind blow through.  Well played lads.

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

Download:Shivery Shakes – Wait [MP3]

 

Frankie Rose – Interstellar

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Rating: ★★★★½

Not too long ago, Frankie Rose brought you her first debut solo album under the moniker Frankie Rose and the Outs. It was an album filled to the brim with ethereal jangly pop weighed down by the dark, whispery vocals of Frankie herself. It’s been a year or two since this self-titled album and now she’s back with a second solo effort.  In that time it seems that Frankie decided The Outs were ‘out’ and that she would go for the sophomore completely on her own. In this choice, she shows but a shadow of the new step of confidence that comes on Interstellar.

If you take a look at the cover of this album, you’ll find that it matches the name of the album, as well as the new direction of sound that it takes: dark, groovy, psychedelic. The album opens with the title track, with waves of synth floating in, crafting a space-y, outer galaxy feel. Frankie wafts in after, her voice as whispery as before, but by no means meek and she only gets a few soft words in before the song picks up. This energy picks up where the last album left off, showing that Frankie intends to go farther than she had before. There’s a new ferocity that seems to be egged on by the extra layer of synthesized atmospheric noise.

Said energy continues to the second track, “Know Me,” whose guitars seem to be swirling everywhere at once, backed with the energetic drumbeats that keep the song at its frantic, yet ever controlled pace. It’s controlled chaos; so many elements combining in a three-minute treat that will have you grooving right along. “Gospel/Grace” gives you some deeper, rolling beats that change the pace a bit but keeps the driving energy that is ever-present on Interstellar. This energy is what sets this album above the previous and what keeps it moving all the way to the end.

Frankie pushes her way through ten tracks in what feels like no time at all. She keeps you entertained all the way through; there isn’t a lull in energy, as the middle numbers don’t dissipate from the enticing qualities that make the beginning of this album so good. Even on the last track, “The Fall,” which lacks percussion in general, you still have the ethereal power that hangs behind Interstellar, transfixing you to start all over again, relishing in the dreamy, supernatural, atmospheric pop that is so piercing to the ear.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/02_Know_Me.mp3]

Download: Frankie Rose – Know Me [MP3]

Hunx – Hairdresser Blues

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Rating: ★★★★☆

Almost less than a year ago, we got Too Young To Be In Love, the second (sort of) album from Hunx and His Punx.  It was filled with its usual amounts of scuzzy punk and bits of kitsch.  But, that era of frivolity seems to have dissipated, if only temporarily, leaving us with the first solo outing of Hunx.  Unlike his normal gig, we find the man much more exposed, emotionally speaking, giving us a personal spin on his always affecting tunes.

“Your Love Is Here to Stay” begins the mellow affair with Hunx reflecting upon a lasting love, but it’s the gentle strummed guitar that distinguishes this from his more frenetic numbers.  There’s an element of innocence here too that’s certainly endearing for listener’s, exposing our narrator.  “Private Room” maintains that same sentiment, yet with the added female vocal accompaniment and impacting drums, you’ll find a bit more pace on this number.  Stylistically, it’s more what you’ve come to expect from Hunx‘s traditional fare.

The one-two punch of hits on Hairdresser Blues comes in the form of “Always Forever” and “Hairdresser Blues.”  The first of these two tracks definitely has that California garage-rock feel to it, but only with more restraint–in a positive way.  For me, the response of “always forever” certainly grabs my attention and makes it a song I’ll play for some time. “Hairdresser Blues” is a jangling piece of joyousness, though the lyrical content might make you think otherwise.  It’s sort of like Hunx‘s version of a Sonny and the Sunsets, compiling pieces of sunshine, pop, and grit to craft a well-written tune.

Perhaps what hits home the most with the record are the two closing tracks.  “Say Goodbye Before You Leave” reminisces about Hunx‘s relationship with Jay Reatard, a personal favorite, so it definitely hits a personal note.  But, more importantly it’s a song about loss, which holds a universal theme for us all, so regardless of the subject matter for our songwriter here, we can all relate to this, especially the closing statement that “it’s just too bad.” Apparently, “When You’re Gone” is another homage to a bit of loss, with Hunx reflecting about his deceased father.  Again, the universality of his lyrics on this effort stand out, bringing home the personal message that seems so important to the narrative being spun on Hairdresser Blues. It wraps up the record with an emotional reminder that surely resonates with every listener–worth the dozen or more spins I’ve given it in the last hour.

What stands out the most about this record really has to be the exposed persona of Hunx on Hairdresser Blues.  While he’s usually a bundle of energy and sexuality (things I enjoy), there’s a personal note on this effort that really supersedes the music.  While it is a bit solemn, the sincerity leaves you with a bit of solace, a bit of clarity and hope.  If he starts to combine these elements with his old-school brashness, there’s no telling what a huge hit Hunx could be.

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

Download:Hunx – Always Forever [MP3]

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