Tag: album review

Mind Spiders – Meltdown

Leave a comment

Rating: ★★★½☆

It’s always good to know that a rocker never dies.  Mark Ryan’s one such dude, giving it his all in the past with the Marked Men; now he’s refueled his passion with Mind Spiders.  Meltdown is the group’s second album in less than a year, and their latest release for Dirtnap Records has them picking up precisely where they left off–and now with more drums!

On the first few listens, you might think that opener “You Are Dead” bares a strong resemblance to Jay Reatard, as there’s that scratchy vocal, not to mention the way the lyrics are displayed that lets you gravitate towards the notion. But, the usage of two drummers has captured the explosive capacity of the group as a whole, something the aforementioned singer never quite had.  And as Meltdown goes further with “Beat,” the chorus indicates that this is definitely a shout out to punk rock. Chugging guitars push you forward, but the chorus will bring the punk rock all the way home, even as the band steadily pounds onwards.

When you stumble upon “More Than You,” you might literally stumble, as it’s the first Mind Spiders track, on this effort at least, that’s not jagged and dirty.  Yes, there’s a bit of a haze coating the sound of the recording, but lurking beneath is a really nice bit of melody. Not to be a spoiler, but if you’re listening as you’re reading, you’re going to find that a lot more of the tracks on Meltdown resemble this number, as the latter half of the record takes a similar approach to this song. “Skull Eyed” takes on a similar pacing, but there’s definitely a haunting electronic element presence, which displays the risks that Mark Ryan’s willing to take with this group.  I’d be interested to see what this sounds like live, as there’s definitely space to pick up the pace in a forceful manner. “Meltdown” closes out the album with an almost carnival-esque electronic playfulness that continues Side B’s theme of musical exploration, only doing so in the instrumental manner; this all hints that Ryan might possibly be trying to figure things out for the future.

Taken as a whole, Meltdown‘s a solid record, though a little bit disjointed in its sonic construction.  It brings on full-frontal rock n’ roll ferocity from the get-go, giving you a hefty does of energy on Side A.  Side B, however, demonstrates that Mind Spiders are still working out some of the kinks as they continue to forge a path for themselves.  It actually makes for the perfect vinyl listen, giving you two side of a most excellent band. We’ll just have to wait and see which path the group takes as they bound off into the future, but let’s rest assured that even when they’re figuring things out, they’re writing tracks that are better than most of the bands out there.

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

Download: Mind Spiders – Wait For Us [MP3]

Terry Malts – Killing Time

Leave a comment

Rating: ★★★★★

My first introduction to the music of Terry Malts stemmed from my love of the members’ former band, The Magic Bullets.  Unfortunately, the group was unable to find a full-time drummer, so opted to regroup as Terry Malts.  A few 7 inched piqued my interest, but when Killing Time arrived in my inbox, I had no idea just how much longevity this record would have.  From start to finish, it’s a polished bit of scuzzy guitars, pop hooks, pounding drums and hooks galore. So far, it’s the best record I’ve gotten my hands on this year.

“Something About You” lets the album explode from the get-go, offering listeners a bit of their traditional gaze-pop in the realm of Pains of Being Pure at Heart, only on speed (not that we condone drug usage).  The drums clatter, the guitars have a ferocious tenacity that propels the song for the entirety of just over two minutes. But, that’s about the last you’ll hear of your typical fare, as the group has more of a raucous punk sound, albeit one infused with elements of power-pop and post-punk atmospherics.

The most brilliant things about Killing Time is it’s ability to never grow stale sonically, whilst still holding onto album cohesiveness. “Tumble Down” has that affected guitar sound echoing in the background, but it’s the monosyllabic vocals touches that provide the song’s main hook.  This is the music you wish you had with you during those times when you need to display sheer exuberance.  If you’re not bouncing around, you’re not listening closely. You can group this song with “Waiting Room,” another song that really relies upon the stellar drumming to really give you a good kick in the ass. Corey Cunningham’s vocals have a deep quality, yet he’s got these tiny little changes in pitch that really add an extra element to every single track.

Terry Malts aren’t just sold on giving you one sound for the whole of the Killing Time; “I’m Neurotic” is one such testament.  For one, it’s the longest track here, but the band’s content to really let the guitars do the work, as they ring in and out of the foreground, battling Cunningham for control of the song.  Then, as a testament that the group’s got a definite affinity for classic punk rock, you find “No Good For You.”  Remember when the Ramones would bang out a nice power ballad, just to mix it up? Well, that encompasses everything great about this song; it’s not just mimicry, however, as there’s definitely a different bit of brashness in the way the group handles themselves–but you’ll definitely notice the homage around the 2 minute mark.

For me, this is perhaps the perfect culmination of everything about my favorite records.  Killing Time definitely has everything modern in its sound, but it harkens back to a purity in the annals of rock n’ roll, tossing out punishing drums lines, excellent hooks and enough creativity that every song sounds fresh.  At just under 35 minutes, you’re going to have a hard time finding an album that begs to be played time and time again without every growing old.  Who loves the Terry Malts? “I do I do I do I do I do I do.”

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

Download:Terry Malts – Tumble Down [MP3]

The Twilight Sad – No One Can Ever Know

Leave a comment

Rating: ★★★☆☆

A brief synopsis of the Twilight Sad has some ups and downs.  They burst onto the scene with the explosive Fourteen Autumns and Fifteen Winters, filled with squalling guitars and blissful pop.  But, then they took an odd side-step with Forget the Night Ahead, which was a more straightforward approach.  Now, officially three albums into their career with No One Can Ever Know, the band is still treading the darker side of humanity, just with much more polished edges and electronic flourishes.

James Graham’s vocals have always been a vital part of the Twilight Sad, and it takes the lead on opener “Alphabet.”  More important, however, is that the guitars work that made the band such a bombastic group is now being replaced by shades of electronics, at least in the foreground of this track.  You can’t claim that this is a poor track, but the absence of the dynamics that flourished early in the band’s career really aren’t present on No One Can Ever Know. Still, with Graham’s prowess, it’s hard to dislike anything the band puts together.  “Sick” almost feels like it’s utilizing some of the electronic playfulness we found on Kid A or Amnesiac, combining grooves, beats and strengthened vocals. Just one listen to the chorus and you’ll surely find yourself fawning over this number.

Even though it’s easy to see the differences from album one to album three, the band’s not completely lacking energy on this effort.  In “Another Bed” you’ll find a pulsating rhythm brooding beneath the number, and melded with further electronic swaths that cut through the track.  Similarly, “Don’t Move” uses the same stylistic accompaniment, although the pounding of the drums definitely provides hints of a darker force just waiting to explode on No One Can Ever Know.  Yet, there’s something amiss, even as you see the band is aided by their craftsmanship. The whole of the record feels really sterile, and lacking a bit of passion, which drew me to the band long ago.  “Kill It in the Morning” is perhaps the only track of the collection that really sees Graham pushing himself, and it doesn’t arrive until the end.  But, you should definitely give it a listen as there’s hints of Trent Reznor in the production of the song; the ending where it drops off and you get Graham again is also a special moment.  You just get the feeling that the band is capable of so much more.

For what it’s worth, No One Can Ever Know is an enjoyable listen, and one that brand new fans will surely appreciate.  But, followers of The Twilight Sad might be a bit disheartened by the listen, as the group still seems like they’re trying to find their footing in the current musical landscape.  I appreciate the dark quality musically and lyrically, but it’s placed too simply, lacking much of the force you know the band is capable of producing.  Perhaps this is just a stepping stone to greater ambitions, and only time will tell. For now, we can be pleased, just not blown away.

Liam the Younger – After the Graveyard

Leave a comment

Rating: ★★★★☆

Liam the Younger is the project of Liam Betson, a man who’s spent some time playing with his friends, Titus Andronicus.  But, that’s about all he shares, or at least his music shares, with his friends, as After the Graveyard is a stripped down affair of bedroom folk tunes.  It’s just now being released by Underwater Peoples, after being stored away for the perfect day.

One of the first things you’ll notice when listening to opener “Current Joys” is that there’s definitely a minimal recording quality with the album, but I promise that won’t detract from the listening experience–not one bit. There’s a familiarity in Betson’s voice, which reminds me of Elf Power (in vocals only), but it’s his approach, which includes the recording hiss, is reminiscent of a young Conor Oberst.  If you listen to “Ode to Then,” it’s hard not to see the similarity, as his delivery definitely has that same feeling of nonchalance.  And while indifference might not be the most charming attribute for a human, you can appreciate it in the musical sense, as the songs on After the Graveyard come across as personal introspections.

For the most part, most Liam the Younger songs on this effort don’t go too far beyond the 2 minute mark, which might do a bit of a disservice to the songs themselves.  You barely have time to soak in the special quality of each number before you’re on to the next number, but tread carefully, as there are definitely some real gems. “It Is Good” is one such track, and probably one of my favorite of this entire collection.  It begins with a softly picked jangling guitar, which then moves up a bit to more of a steady strum.  The pace carries on for the rest of the song, finally fading towards the very end.  Find this song, and no matter what, you’ll be pleased Liam sat down to pen any songs at all.

All in all, a great deal of these songs come across as brief demos, as if they’re not fleshed out quite as one would expect.  It’s always great to hear someone having fun recording tracks all on their own, but one is left to wonder what would happen with a bit more time spent with each song, narrowing down the precise elements that really stand out.  Don’t get me wrong, After the Graveyard is absolutely chock-full of such elements, so much so that it’s a bit overwhelming at times, but I’d love to see Liam the Younger go back in time and re-record all these tracks with everything he’s learned. Pretty sure he’d be indie newcomer of the year.  For now, he’ll have to settle on being a musician with loads of talent, who just needs a touch more time.

Liam the Younger – Clear Skies Over Black River

Leave a comment

Rating: ★★★½☆

Once again, Liam Betson is the man behind the recent Liam the Younger releases.  This is his second album under the moniker, finally seeing release (on the same day as the first) after being stored away, then shared with a few friends along the way.  While his association with Titus Andronicus is probably an easy point for critics to point at, there’s definitely something else going on beneath this set of songs, all of which benefit from an expanded length, in comparison to his other release, After the Graveyard.

Anyone can pick at a guitar and crop a tune nowadays, but it takes someone special to really evoke the emotions out of a listener.  Liam the Younger accomplishes this on all his tracks, just like a few others before him.  “Leaving Black River” again recalls both the playing and singing of young Conor Oberst.  You can feel the earnestness in his singing, so much so that he occasionally hits that off note, yet not quite like Oberst’s warble–it’s a little more gentle. Also, there’s hints of a humorless Adam Green on “Country Wide,” which comes across like a haphazard ditty–that is until eventually you fall in love with the track, realizing that Liam Betson might just be the new singer for you.

Adam Green sticks out the most in comparison when you look closely at the lyrical stylings on Clear Skies Over Black River. Take “Walking,” for instance, a song that’s very casual in its composition and seems to merely be recorded thoughts, albeit from different perspectives, of every day happenings.  This is the sort of thing that made Green and his Moldy Peaches so charming, just as it does with Mr. Betson.  Stripped down to guitars, you really just get to listen to the man tell his stories, and everyone loves a nostalgic storytelling moment.

But, don’t let me drown you in comparisons, as this record is so much more than all that.  For one, listen to the whisperingly soft “Beneath the Weeping Willow Tree,” and try to not tell me that this is the sort of song you’ve always been toying with in your bedroom. Or go with Liam on “Clear Skies” as he reminisces about his good day, a la Ice Cube.  These are friends that make you feel close to the artist, allow you to get drawn into his craft; for a lot of us, that’s all we’ve been looking for our whole lives.  Each track on Clear Skies Over Black River is just that, a song you can feel yourself writing, you just didn’t happen to write it, Liam the Younger did.  It’s personal; it’s a musician stark naked with nothing but his guitar; it’s something you’ll want to come back to time and time again.  That’s what great records and songwriters do, and that’s what you have here.

Sharon Van Etten – Tramp

One comment

Rating: ★★★★☆

“We’re alright, we’re alright” sweeping over a slow moving beat and creeping along with wailing guitars screams as the farthest thing from being actually alright. Accompanied by Zach Condon of Beirut, “We Are Fine,” the eighth track on Tramp comes across as a bold statement of purpose for this album and Sharon Van Etten’s style itself—pushing through while exploring the emotional turmoil that perhaps plagues this songstress and perhaps plagues us all at some point or another. Tramp is yet another staple of this exploration for Van Etten, whose raspy voice is power, often made grim by the words that are carried by it, and haunting in itself.

The album begins at “Warsaw,” which is by far the most jangly/garage rock number on this release. Squalling guitar brings you in at its crawling pace, and then Van Etten’s voice makes its first appearance. Juxtaposed against the raw instruments, the vocals appear at their sweetest here and it isn’t until the next song that you can really grasp the true force behind them. Second up is “Give Out,” on which the focus is transferred to the voice that sails above the guitar and minimalist percussion, and is yet tethered to the music by its deep resonant force. When Van Etten belts “you’re the reason why I’ll move to the city,” she reaches a sinisterly arching, skin crawling tone that oozes strength amidst destruction.

After this powerful track, “Serpents,” the lead single from Tramp gets its bitter say in its own chilling notes. More prominent percussion and borderline angry vocals command this song, driving it into corners and then letting it all go. Here is where essentially my only qualm with this record can be found: song placement. The first three songs are all brilliant and supremely gripping in their strength and boldness, and then the fourth song immediately drops from outward reflection to inward contemplation. All of the caustic and edginess is lost and Van Etten turns to a softer, more acoustic sound, which carries through the middle portion of the album and may have some differing reactions by listeners. Some may find this breakdown alluring in its real nature, and others may find it weak.

She does not end on a meek note, however, and brings back the power on songs aforementioned like “We Are Fine,” that stretch the vocals to boil and “Magic Chords,” which strikes the same fancy as the first few tracks on Tramp. It is a devastatingly beautiful number, and the same can be said for the whole album. You are transfigured by the sorrow found in Van Etten’s voice, and held down by its overwhelming strength.

[audio:https://austintownhall.com/wp-content/uploads/2011/11/Sharon_Van_Etten_-_Serpents.mp3]

Download:Sharon Van Etten – Serpents [MP3]

Imperial Teen – Feel the Sound

Leave a comment

Rating: ★★★½☆

After nearly two decades together, what’s their left for a band to accomplish, or say that matter?  Well, after spending the last few days with Feel the Sound, the most recent release by Imperial Teen, it’s clear that there’s plenty more to be done.  There’s always been an infectious brightness to the band, and they don’t hold back on this effort, giving you 11 new tracks to which you can tap your toes.

“Runaway” doesn’t hit hard, but it hits you in all the right places.  Guy/girl vocals, one of the band’s specialties, provides a certain sentiment of joyousness, propelling the album along in the precise manner one would expect.  As the song rolls along, a smile will begin to spread from ear to ear.  This approach seems to be the most successful on Feel the Sound, with songs like “All the Same” using steady drumming, precision guitar play and a penchant for a nice hook to keep us bobbing along with the group.  Listening to the increased pace and stomping drums in the middle of the aforementioned track will have you seeing precisely why Imperial Teen have been able to win us over again and again.

Don’t think that the record’s just going to pound you with furious bubblegum flavor from start to finish, as restraint is definitely a forte on this outing.  One of the standout tracks, “Don’t Know How You Do It,” really comes across as an indifferent jam, yet you’ll find that it slinks its way into your heart.  Monosyllabic chants always get me, personally, but the effortless cool of the track itself reminds one of the great tracks by current label mates, Shout Out Louds. “Overtaken” has a much more melancholy tone for listeners, almost in the vein of mellow post-rock, which might come as a surprise for most fans.  The lyrical line of “it’s overtaking us” provides in ominous mood, yet those soaring harmonies always make it hard to fall too deep into the darkness with Imperial Teen.

While there’s plenty to absorb, musically speaking, on Feel the Sound, it’s an interesting collection of tunes.  None of these tracks are going to absolutely blow your mind, but there’s a certain playfulness that allows you to really get carried away in the listening experience. Take the brief, “It’s You,” with its sexy vibe and sprightly bounce and you’ll hear the sort of maximum enjoyment that band can offer up in a heartbeat.  Whether you’re looking for a solemn tune, or something to lift up the spirits, this record really does have it all.  A little bit of time, and you’ll realize exactly why Imperial Teen have been able to sustain such great longevity; the band’s just flat-out good, simple as that.

[audio:https://austintownhall.com/wp-content/uploads/2011/11/01-Imperial-Teen-Feel-the-Sound-Runaway.mp3]

Download:Imperial Teen – Runaway [MP3]

Hospitality – s/t

Leave a comment

Rating: ★★★★☆

January has come and gone, and there have been some decent releases of the New Year already, but as for classic indie-pop, this is by far the most playful album yet. You have all the elements that tend to work for indie; the whimsical yet grounded tone, the combination of slow beats that still manage to grab your attention, and of course the fast past and downright fun numbers. Hospitality, a three part, but by no means a small part band, brings it to you hard on this self-titled debut.

For starters, there isn’t really a bad song on this album. When you listen to it, from start to finish, every twist and turn will have you anticipating the next corner, the next direction you’re heading. Take “Friends of Friends,” the second song and single for the album, is all about the build to this fun climax of poppy goodness. You begin with a simple guitar line, guttural and garage-y, add in the percussive odds and ends, and finally layer Amber Papini’s sassy and earnest vocals over the top and you get this song that just crawls along at its own beat; it feels like a series of images strung together in a montage. Then, on the very next song, you get a smoothly blended sound in “Betty Wang.” The acoustic strumming and Papini’s never ending lyrics that run together and

But the treats don’t just come early on Hospitality; this Brooklyn trio keeps their hold on you to the very end, throwing in monumental tracks like “Argonauts.” The longest song on the album, at a little over five minutes, pushes together the success of the two songs I’ve already mentioned, bringing you a cohesive, yet piece-y number that relies on the jangly percussion to be its backbone. And if that is the backbone, then the vocals are the highlights. Here, Papini is backed by some male vocals that juxtapose with her delicate playfulness and keep it from soaring too whimsically. Grounded, this song explores a melancholy tone that can be found buried beneath the layers of fun that runs through the work.

What keeps these excellent songs from running together, and what keeps the rest of the songs from running together for Hospitality is the variation in length of tracks as well as their style. Not only do you have creative and exciting songs, they are given their best opportunity to shine amidst their album mates—and isn’t that what every album should long to be?

[audio:https://austintownhall.com/wp-content/uploads/2011/09/Hospitality-Friends-Of-Friends.mp3]

Download: Hospitality – Friends Of Friends [MP3]

Golden Calves – Collection: Money Band + Century Band

Leave a comment

Rating: ★★½☆☆

Those of you familiar with Wooden Wand will surely recognize the work of James Jackson Toth, but it’s possible that his early project as Golden Calves might have slipped under your radar.  Luckily for you, Woodsist has run a small reissue of of his two releases, combining them into one double LP collection.  While there’s definitely some enjoyable moments on places, many listeners will find the tinkering a bit too much at times, and seemingly self-indulgent.

I’m not going to sit here and praise Toth and his Golden Calves for some incredible creation, as a great deal of this album seems like meaningless dribble.  In fact, there’s barely a completed four songs on the first half that is comprised entirely of Money Band.  That record comes off as an elementary attempt to create something artful and completely off the beaten path.   That being said, there are some elements that clearly come through on that side, such as “Seraphim Radar Rallies.”  It’s still a bit basic and experimental, but there’s an endearing quality in the composition, much like the early works from Elf Power.  By and large, however, the first half of this record can be wholly discarded. It’s a specialty collector’s piece for fans of JJT, which is understandable, but no more than that.

What’s interesting is seeing the evolution from Point A to Point B, which comes through in the Century Band 12″ recordings.  There’s a bit more of a conscious effort to compose structures, albeit in the slightly confounding manner that Toth’s early work took on.  Still, Toth’s comments seem to acknowledge his faults in the compositions, as he clearly realizes that this was a starting point for a budding musician.  You’ll find a song like “Mod Bacteria,” however, a pleasurable tune; it’s one you can actually find yourself listening to again and again, including the faint haunting vocal in the background.  “Atrium 5: The Absinthe Labyrinth” is another such track, with carefully picked guitar and Toth carefully plodding along with his vocals. These are where we hope his talents began, as clearly there’s a background for a strong future in these songs.

All in all, I’m not going to lie to you and tell you that I hate this.  There’s just enough of an oddity within that really grasps the young indie rock listener in me, shaking him awake again.  Back in my early days when I was blown away by things just because they were weird and different, I was on top of the world, and that’s sort of the sentiment you get from Toth in these recordings.  He was young and ambitious; he just wanted to put it all on tape.  For what its worth, you’ll find some gems, and you’ll find some trash, but mostly you’ll find a special recording that you should be able to enjoy if you remove your blinders and get lost in the experience.

Sonic Avenues – Television Youth

Leave a comment

Rating: ★★★★☆

Over the last decade or so the United States has been flooded by wave after wave of Canadian bands, with a great deal coming from Montreal.  While the majority of Montreal’s exports have predominantly dwelled in the artistic pop spectrum with the likes of Arcade Fire at the helm, it’s not all the city has to offer.  Sonic Avenues are an energetic foursome kicking out power-pop/pop-punk on Television Youth the likes we’ve all been missing.

“Givin’ Up On You” jumps you right into the brash affair with a furious drumming and the ghost of Chuck Berry’s guitar being played at maximum speed. You’ll do more than just stomp your feet or tap your toes with this number; if, like me, you’re versed in the old school, you’ll surely be pogoing around your office cubicle or dorm room. A few minutes away lurks one hell of a single, the one that gives the album its name, “Television Youth.”  There’s not just one thing that makes this track stand out; you can pick between the drumming, the “oohs,” the gang vocals or the guitar playing.  Regardless, songs like this deserve to be played by everyone, loud and in close proximity to your annoying neighbors.

Sure, there’s been a handful of other bands banging away such Exploding Hearts influenced pop, but I don’t really feel as if any one has turned the volume up quite as loud as Sonic Avenues.  “Late Summer Goner” and “Fadin’ Luv” both bear a small resemblance to Gentleman Jesse and His Men, but these Montrealers hit it just a bit harder, giving them a much more punk sounding monstrosity of a record than many of their peers.  Perhaps it’s just a little bit more of an unabashed approach to kicking out the classic sounds; whatever it is, it works throughout Television Youth.

You can’t help but find every little touch on this full-length slightly more than infectious.  Pushing through the album is easy, as its brief, allowing you to put all your energy into ransacking your room in joyous abandon.  Even if you start to think that it all blends together, even a bit, you find exciting tracks like “Back Up Back Down” hiding at the end, assuring listeners that no matter how much you think you love your power-pop, you can never get enough of it when it sounds this good.

Admittedly, Sonic Avenues haven’t broken any brand new ground with their latest effort for Dirtnap Records, but they’re execution of the craft revitalizes the genre just a touch, bringing a faster more ferocious variety than many of their predecessors or peers.  Each time I press play on Television Youth, a smile lights up my face, ready for my body to contort spastically as I flail about.  You can’t ask for much more in a record than that; proof that these dudes are on top of the game.

[audio:https://austintownhall.com/wp-content/uploads/2011/11/TelevisionYouth.mp3]

Download:Sonic Avenues – Television Youth [MP3]

1 … 22 23 24 25 26 … 61
Social Media Auto Publish Powered By : XYZScripts.com