Tag: album review

Centro-matic – Candidate Waltz

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Rating: ★★★★☆

For close to two decades, Will Johnson has been all over the map, crafting songs under his own name, with various co-writers, and of course, with Centro-matic.  For the most part, his music has always had a sort of country-shade to it, and his voice has always made it heart-wrenching, no matter the lyrical content.  But, on Candidate Waltz, there’s more of an uplifting construction to the songs, giving you an album that could be considered his most widely accessible work to date.

You can easily discern that there’s going to be a sharper, polished sound on Candidate Waltz the minute “Against the Line” drops in with it’s sharp guitar chords.  Of course, the fragility in Johnson’s voice remains, creating an interesting juxtaposition that allows the song to be absorbed by your soul on multiple levels.  Jagged guitar lines cut through the following track, “All the Talkers,” with the group sounding a bit like a more rocking version of Lucero, but the interesting aspect of this song comes in near the final two minutes.  The track switches from a gritty rocker into this carefully crafted pop lullaby ending, created by the melodious backing vocals; this is perhaps one of the brightest moments on the record.

If you’re looking for that classic Centro-matic sound, with Johnson’s voice pulling at your gut strings, you’ll find that those songs, too, live within the confines of this latest effort.  “Estimate x 3” relies upon a time-keeping drum beat, quiet guitar lines, and Will.  The gruff quality of his voice always makes him seem so vulnerable, and that has consistently made his tracks seem tragic, yet towards the end of this number, as he repeats “give me what you want/don’t tell me” you can sense a softer side emerging in his work.

It’s going to be difficult to find something that allows you to disregard Candidate Waltz.  There’s sweeping melodies, great song arrangements, and really, there aren’t any misstep songs.  “Only in My Double Mind” has a banging piano and drum to start it off, while Johnson’s vocals do a great job carrying the melody throughout, giving you a short glimpse at just how powerful his voice can be, even when the music doesn’t appear to be the most innovative.  There’s a gentleness to the way he croons “ooh ooh,” providing those mono-syllabic moments with bits of depth you typically don’t see.  And the record finishes off with much the same fashion as it begins, bringing a warm rocker to your ears by the name of “If They Talk You Down.”  It shouldn’t cease to amaze you how emotionally charged Will’s vocals come across, even when he’s just using his voice as an instrument.  Personally, the gentle strings in the background make this track another standout.

There’s not a bad thing to say about Candidate Waltz, no matter how many times you listen to it, unless of course, you wanted more songs.  But, the brevity of the experience, combined with Will Johnson’s powerful voice provides listeners with more than enough to swoon over, just before Centro-matic wraps it all up.  The best thing is that as soon as it ends, you’ll want to start if all over again. And again.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/05.-Only-In-My-Double-Mind.mp3]

Download: Centro-matic – Only In My Double Mind [MP3]

Jeff the Brotherhood – We Are the Champions

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Rating: ★★★★☆

Very few duos really seem to pack a punch, the last one I recall that really killed was DFA 1979, but the latest release from Jeff the Brotherhood is definitely a record that will lightheartedly kick you in the teeth.  This is a good thing, as summer needs some rock n’ roll, and that is precisely what We Are the Champions gives it listeners.   Want to have a good time, then run out the door, pick this up, and blast it as loud as you can!

Like various other bands taking this arena rock approach, namely Free Energy, you can feel the studied past of classic rock and punk flowing through the veins of the Orrall Brothers. But, what seems to put Jeff the Brotherhood far ahead of their peers is that they actually seem to be enjoying their portrayal of the sound.  “Hey Friend” spends the first half of the opening track giving you one hell of a gritty rock jam, but then it sort of breaks into something entirely different; its part Weezer, part Ramones, part arena ready rock.  It’s just plain good.

Sure, you could take a knock at the band for giving you some fairly juvenile song titles, and possibly lyrics, but occasionally, the execution matters far more than the actual thought process; such is the case on We Are the Champions.  “Cool Out’ speeds through, with a pace that would probably force Joey Ramone to think twice, but it’s got sort of a power-pop-punk feel, like early Queers albums.  Perhaps it’s the fact that the band is just a duo, forcing them to focus on their simplicity when it comes to songwriting, giving their sound something rather refreshing and clean.  “Bummer” has buzz-saw guitars and just a steady drum beat keeping time, but it’s the “whoa-ohs” and vocal harmonies that make it such a killer track. The louder the song gets, the more you just want to have fun.

But, it’s not all fast-fueled punk-ish sounding arena rock, but there are some momentary allusions to stoner-rock as well, or sludge-rock, like “Ripper.”  It just opens with this filthy jamming moment (one of the few times I like a jam), and of course it blasts off into a furious energetic blast, but the sound of the guitar definitely is filled with dirt and grime, unlike some of the cleaner sounds on earlier tracks. Really, these guys are all over the place throughout the entirety of We Are the Champions, but in an endearing fashion that makes you want to pump your fists and sing out loud.

Album highlights for me include the heavy hit “Mellow Out,” or the oddball psychedelia-hints from “Health and Strength, and definitely the closer “Wastoid Girl.”  Once you give a listen to this release from Jeff the Brotherhood, you’ll be thumbing through lyrics sheet, or pressing play over and over again, as the band has crafted an entire record full of sing-a-long hits that are sheer fun.  You’re looking for the perfect record to blast loudly while you get ready for the night? You need look no longer, as there’s nothing better today than listening to We Are the Champions.

[audio:https://austintownhall.com/wp-content/uploads/2011/04/04_Shredder.mp3]

Download: Jeff the Brotherhood – Shredder [MP3]

Bon Iver – s/t

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Rating: ★★★★½

If someone were to tell me that a band with falsetto, auto tuned on occasion vocals, and folk music backing was one of the most soothing and beautiful sounding groups they had ever heard, I would probably scoff at them and laugh. When describing Bon Iver, it seems as though this band should not fundamentally sound as lush and gorgeous as it does, but I’m not complaining. After their first album, For Emma, Forever Ago, was released back in 2008, Justin Vernon and company have been gaining praise, as well as attention, and this sophomore effort certainly seals their place as giants of the Indie world.

From their last album, there is certainly not that much immediately different to the sound of Bon Iver. You have the faded and distant sounding drums, the swells and builds in sound, the delicate ferocity in Vernon’s falsetto voice. It’s all there, but now it sounds a touch more refined and practiced than that of the previous release, as though the band went the extra mile to make these tunes sound polished and pristine. On “Holocene,” the third track, the intricacy in the layers of sound is especially noticeable. Gentle guitar floats upon subtle waves of synthesizer, the ever-graceful vocals leading the song at a meander. Such is the kind of song where you just want to close your eyes and let the music hit you like a gentle breeze; it’s simply beautiful.

One of the more noticeable changes of this group is the distancing of lyrics and the focus on the sound of their wispy music. The instruments do not overpower the songwriting, but they share the space coming out of your speakers rather than the words riding above. This does make it a bit more difficult to discern exactly what words Vernon utters, which is only a drawback if you don’t have the luxury of looking them up in the album booklet. If anything, this vagueness makes me want to listen to this collection of dramatic songs more, in attempts to ascertain the meaning behind them.

The bottom line is that this album is simply magnificent. Whatever you want to call it, folk, drifting soft rock, it is beautiful in every song, in every note, and capable of pushing you emotionally. It is the perfect anthem for anything: driving, walking the dog, bedroom listening, and I can see this becoming a staple in a large number of listening catalogs. Rightly so.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/08-Calgary.mp3]

Download: Bon Iver – Calgary [MP3]

Cults – s/t

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Rating: ★★★½☆

For a band that basically came out of nowhere last year, Cults have gathered quite the following in the past year that they have released music. Be it praise from various musical critics, or just growing popularity of fans, this band had a lot of hype. However, upon listening to this self-titled debut, it is clear that this excitement and attention is well deserved; Cults have crafted a gem of a summer album here.

The band opens with “Abducted,” an explosive and energetic entrance. For about the first thirty seconds, you have the muted and echoed version of Madeline Follin’s angsty vocals, playing the role of heartbroken female. Then things get turned up to full volume for the chorus, and the song takes off, xylophone raging right alongside Follin’s voice whist she screams the pain away. She hands the vocals over to the male perspective of the two-member group, Brian Oblivion, who assumes the position of heartbreaker, giving the song the edgy tradeoff between the two of them. After this song fades away, the single that got everyone talking about this band, “Go Outside” follows and keeps the energetic and sinfully sweet pacing for this band.

A big part of this album is the large youthful presence of several elements of the band. For starters, you have the valley girl esque, high pitched, and extremely female vocals. Accompanying this is a Fisher Price sounding xylophone, which only adds to the childlike feeling of Cults’ sound. It reaches an all time kiddy feeling on the song “Oh My God,” whose chorus sounds akin to a little girl taunting one of her playmates, which is ironic in that lyrics reach farther than that. It’s a cute little number, one that stands out from the others on the latter half of the album.

That being said, the extreme amount of energy that makes it enjoyable is also what makes it sound a bit too juvenile and grating after repeated listening. For this reason, this album becomes one that needs the right mood to be listened to, as opposed to an all day every day kind of release. But when you’re in that youthful and happy go lucky mood, there are a slew of great tracks to dance to and enjoy. As a first release, it’s a decent start for Cults and I look for interesting future albums from this duo.

Ty Segall – Goodbye Bread

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Rating: ★★★☆☆

Admittedly, I was worried when I first heard that Ty Segall was going to take his ramshackle approach to California garage-pop and slow it down a notch or two.  Now that I’ve given Goodbye Bread a thorough fifty times over, I’m still a bit at odds with his new approach, though there are gems thrown about that really get to me.  In the end, I like this record, and only months of non-consecutive playing will truly indicate my feelings as to the longevity of his newest record for Drag City.

“Goodbye Bread” is actually a solid opening track, and one that immediately states the purpose of the album.  You’ll get Segall’s hazy croon, accompanied by minimal guitar for the most part, but it does pick up a bit, which makes this effort pretty solid, though longtime fans will surely wish more time was spent on carrying out the latter half of the track itself.  Like the opener, the lead single from Goodbye Bread, “You Make the Sun Fry” has this slow burning quality that definitely will appeal to fans of a grittier guitar sound, but perhaps this is where the execution of the record seems to sort of fall off for Ty, as the heavier moments seem sort of like after thoughts for him, especially when you look back over the course of his work.

There are songs on the record that illustrate a different approach for Ty Segall, and one that sounds remarkably refreshing.  If you take a listen to “I Can’t Feel It,” you can hear a more pristine guitar sound lurking in the background.  Pacing on this track doesn’t really fall off, or fly into the typical Segall approach.  It’s a wonder why he didn’t just completely go off course and write more songs like this, as it’s definitely a gem of a track.  It’s weird, but the noisier tracks on Goodbye Bread, such as the monotonous stomping of “California Commercial” don’t seem nearly as strong as the finer tracks on Melted, but the one-two punch at the end of the album makes everything worth it, and should restore every listener’s faith in Segall as a writer.

“I Am With You” begins the closing statement here, and it should be noted that it’s probably the most interesting, in regards to Ty’s approach on writing this bunch of tunes, as there’s switches in pacing, almost hurrying at times; there are also various changes in the overall dynamic of the song, even as he goes off into his ghoulish howl near the end. And, then you have the album closer, “Fine,” which serves as almost a infomercial on the ability of Segall to actually sing; he does a fairly decent job, at least to my ears.  Perhaps it kind of struggles to end, but in the end, I think its going to be one of those songs I’ll come back to time and time again.

Depending upon your interest in Ty Segall, you’ll probably land in various places with your own final consensus.  At times, it seems like he’s stuck in the middle of the road, unable to commit one way or the other to a certain style.  But, as the album draws to a close, you can see him hitting that proverbial stride, and those songs definitely benefit.  Goodbye Bread makes for an enjoyable listen through and through, just not sure where it fits in Ty’s catalogue, or where he’ll go from here. Until then.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/Ty-Segall-You-Make-the-Sun-Fry.mp3]

Download: Ty Segall – You Make the Sun Fry [MP3]

Vetiver – The Errant Charm

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Rating: ★★★½☆

As soon as you come across The Errant Charm by Vetiver, there will be two things that stick in your mind, at least if you approach things in a certain way.  For one, the color scheme of the album sort of seems to hint at finding a warm place in a cold background, or even a sterile one for that matter.  Two, the title reflects finding one’s way by not going the traditional, or expected path.  After spending hours with the record, surely you’ll see where this all fits into the motifs of the record.

Everyone seemingly uses the acoustic guitar nowadays, stripping the sound of on-stage performances in favor of more intimate feelings.  Such is the way you’ll begin on “It’s Beyond Me,” which begins by wrapping the acoustic guitar in hints of atmospherics, but just after the 1 minute mark, things lift up, albeit just a bit.  The gentle shift in mood of the song matches that of the cover, going from one point and blending it into the next.  You’ll really have to spend time with the details here, as they definitely hold a great deal of the musical meaning. For instance, “Worse for Wear” tramps on, with its hollow drum beat, muted strumming, but again, the melody shifts, going in what one can assume is a bit of an unexpected change.  The Errant Charm is full of such moments, making it a joy for those who listen closely.

There’s even some peculiarities in Vetiver‘s approach this round.  On “Fog Emotion” there’s evidence that the group have responded to current themes, kind of giving off that faux-80s groove, but, like the fog mentioned in the song, a mellower meandering track finds its home, moving the song away from known cliches, as the band clearly intends to make the sound their own.  All this moves into what one can deem as the orange area of the album cover, offering up The Errant Charm‘s two hottest tracks.  “Right Away” is a short and simple track, with really nothing special to it, other than the fact that the harmonies presented have a tendency to hang in your mind long after the song has ended. Even more special is the way it tails off, changes a bit, but maintains its lasting impression. “Wonder Why” has a bit of a moving stomp to it, so it’s easily going to find itself labeled one of the more upbeat tracks present, but it’s the momentary touches that grab you, such as the female vocal accompaniment during the chorus, or that piano kicking in and out of the track. This is the type of track that makes you want to go back again and again.

Just as the press release reads for The Errant Charm, it’s clearly a piece constructed for wandering off on your own path, finding your own place in the musical landscape of your soul.  Whether you want that color to be bright or warm, you’re bound to find the songs Vetiver has put together as fitting for your own travels about, even if those travels only take place in your mind.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/9542.mp3]

Download: Vetiver – Wonder Why [MP3]

The Rosebuds – Loud Planes Fly Low

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Rating: ★★★★☆

After five full-length studio albums, it is safe to say that The Rosebuds have shown you the various things that they can do. Be it dance tunes, grounded indie rock, or wispy pop, this band has done it all. With such a wide range of capabilities, it is hard to predict where this band will go next, which contributes to the delight and spontaneous feel to Loud Planes Fly Low.

Things start out strongly on the first song, “Go Ahead” where listeners are greeted by the mellow voice of lead male singer, Ivan Howard and the sweet echoes of female singer Kelly Howard. As far as pop tunes from this band goes this has got to be one of the more solid ones. Faded percussion rises then falls to meet the serenity developed by soft “ooohs” of the background, creating a head bob worthy beat. By the time it builds up to the end at four minute twenty seconds, it’s hard to resist the urge to skip back and repeat.  The Rosebuds make it difficult to move on from the bluesy, yet breezy appeal of this first number to the second song, which is always an excellent sign of things to come.

The breezy pop with deeper set roots continues on the second song, “Limitless Arms,” as well as the third, “Second Bird of Paradise.” However, on the fourth song, you have a pop track with a basis in a sort of disco groove. On “Come Visit Me,” Kelly explores the feeling of throwing away future consequences for an instantaneous gain (“Even if it fucks me up”), while maintaining a stellar 70’s feel with it’s string work. It’s songs like these that serve as reminders to the versatility of The Rosebuds; they can deliver danceable tracks that have substance as well.

“Worthwhile” ends things in a softer, acoustic light. Ivan leads the way once more with his soothing voice, and delicate strings join him and the guitar plucking towards the end of this little number. It’s a delightfully tender moment, and is the perfect finish for The Rosebuds.

Honestly, I can’t find a song worth complaining about on this album. With its limitless diversity, there is definitely something for everyone to enjoy. So find your own favorites on Loud Planes Fly Low and cherish a band that brings so much to the musical table.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/TheRosebuds_woods.mp3]

Download: The Rosebuds – Woods [MP3]

The Wooden Birds – Two Matchsticks

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Rating: ★★★☆☆

It’s not like Andrew Kenny is new in town, so if you haven’t heard of his work before, you better get back to your homework.  But, that being said, his work with American Analog Set has seemed to dominate discussions, at least in comparison to his other projects.  While he made small steps away from that with the first Wooden Birds release, Magnolia, it appears he can clearly put the past aside, as Two Matchsticks is his best work date.

The meandering guitar line, softly walking across your speakers on “Folly Club,” is something that has come up often in Kenny’s work, as he’s really simplified his compositions of late.  What does stand out upon the first track is Leslie Sisson, who has spent time with Matt Pond PA (Matt is also all over this album).  Her voice is the perfect accompaniment for Andrew’s gentle warmth, providing almost a folk aspect to the minimal indie rock sound. Listening to the title track from Two Matchsticks, you continue to immerse yourself in a bit of folk, with the group giving what might just be a small nod to Iron and Wine.  This should come as no surprise, as the recording was done in a small bedroom in Austin, as Sam B. used to do in the golden years.

While the proper pacing might lack at times for The Wooden Birds, it’s the differentiation of presentation that really appeals to you on this LP.  For instance, Sisson takes control of the lead vocal on “Baby Jeans,” which provides a different dynamic, though the music sounds similar.  But, that’s the thing this round that makes the album a new step for Kenny and his mates, they share in the songwriting/singing duties fairly equally, giving the record a wider range than what you might have found on Magnolia.

Still, there’s something classic to the way the lyrics are being written on Two Matchsticks.  In a time when many are likely to shirk literary responsibilities in favor or obscure references or “carefree” (read careless) lyrics, things go differently in this land.  While I have no idea about the narrators in the songs, at least you can see story lines,  and personable notes within the lines, allowing listeners to make those connections with either the band, or themselves.  This isn’t to say this Oxford English here, a la Colin Meloy, but the crafting of the phrases and the stories within the songs should definitely be something that piques your interest.

You know, the first dozen listens to this record, and it might be fewer for most, may not strike you as anything breathtaking or otherworldly, but give Two Matchsticks just a bit more time.  Just as you begin to find things rather drab, you discover lyrical gems, drawing yo closer into the landscape of the songs, such as “Too Pretty to Say Please,” laying in wait for you near the end of the record.  If anything, those extra listens will lead you to see the careful little touches made by Kenny and The Wooden Birds, leaving you with a fairly remarkable listen.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/02-Two-Matchsticks.mp3]

Download: The Wooden Birds – Two Matchsticks [MP3]

Country Mice – Twister

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Rating: ★★½☆☆

You don’t tend to think of Southern rock when you think of the musical influences of New York City, but that doesn’t seem to affect the kids in Country Mice.  They’ve been building a name for themselves slowly, and Twister has the band poised for bigger horizons.  It’s a little scattered here in there, in regards to over all sound, but don’t let that be a detractor, as there are really special moments inside.

When “Ghost” breaks into its stride to begin the record, those of you who’ve listened to the few singles from the band might be surprised to find a heavier version of what you remembered.  Sure, there’s those sprawling country effects, but it’s definitely a heavy-handed song.  “Festival” takes hold of the same theme, and if anything, it steps up the Southern rock repertoire even more.

Just as you thought you were getting a feeling for the band, they offer up what is easily one of the best songs on Twister, if not one of the best of the year.  The vocals of “Morning Son” seem distant, as if Justin Rueger recorded his vocals from the back of a barn.  Still, there’s this rolling movement to the song, guiding you along, as if following a trail through some wooded land.  And, this is the ground where Country Mice seem to be so comfortable.  “Rabbit on a Leash” follows a similar pattern, though you’ll find this number fueled with various guitars cutting back and forth across the background of the sound.  It’s the simple country approach, and in that, you’ll find joy and comfort for during your listening.

Despite its softer moments, Twister, definitely can’t escape the leaning towards alt-country and like-minded Americana outfits.  “Clover” is an example of a track that seems to wear the influence of My Morning Jacket.  It’s not quite a rocker, but it has the influence of bands that have come before Country Mice.  It’s a good song, but not one that is exceptional, which may weigh on the ears of the listener.  It leads right into a bit of a misstep for the band too, as “Worn Hearts,” a track that seems to venture too far into the pop-country medium for the liking of most.  But, they return with the very pleasant “Bullet of a Gun,” showing that they still have what it takes to win over any listener, crafting another joyous moment that culminates in a rise and fall melody.

So you come to the end of Twister, and my bet is that you’ve found several tracks that really stood out, whether you like your Southern rock or your more country-balanced pop.  That’s the good and the bad about Country Mice, at least up to this point in their career.  They seem to be walking the line between the two, and those two are vastly different, but that’s a decision we can expect to see the band make as they come more into their own.  Let’s label this effort a good starting point, with great moments, and hope there’s more to come in the near future.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/countrymice_morningson.mp3]

Download: Country Mice – Morning Son [MP3]

Death Cab for Cutie – Codes and Keys

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Rating: ★★★☆☆

I feel like I’ve been waiting for Death Cab For Cutie to step up to the plate and produce a record that blows me away for the longest time. It seems as though they have produced some really grand songs, but have not necessarily excelled at making a cohesive album that strikes listeners with hit after hit, at least not for a long while. On Codes and Keys, it’s not a total wash, but it certainly does not fit the gripping and fantastic album that I’d hoped for.

While it is disappointing that this band did not miraculously intensify from their last release, it is still comforting to know that they know how to craft some good songs. If it’s any consolation to those long time fans of Death Cab, there isn’t much drastically different on this album. You have the bleak yet ever enticing vocals of Ben Gibbard, which serves as the distinctive quality for this band. The album starts with “Home Is a Fire,” on which you’d think that they’d begin with one of those knockouts, but instead you get a slow, crawling start, as if the band is reemerging from the depths of the three years since their last release. However, it comes across as a bit of a boring song for those who are fairly educated and familiar with the band’s sound.

Things don’t really get going until you reach “You Are a Tourist.” It’s classic Death Cab from the start: loops of Gibbard’s vocals echoing in the background, pragmatic and dignified drums and the semi-serene, on the verge of edgy, guitar. As I mentioned earlier, there is no doubt that this band knows how to make a killer pop song, and it is proven on this song, as well as later on “Monday Morning.” This track divulges the tale of a muse that Gibbard admires and then marvels at the simple events by which he met this darling female. It’s little gems like these songs that make me hold onto this band.

There are other tracks as good as these, some that are throwaways, and others that lie somewhere in the middle, leaving it up to you to make the decision whether they linger in your listening catalog. Such is the tradeoff of having a front man with such a distinctive vocal quality: it allows for some numbers to run together, or sound akin to another track that the band has already produced.

I don’t think that Codes and Keys is by any means a step back from their last record, but by no means is it a step up. Death Cab For Cutie seems to be fairly content with this ratio of excellent songs to mediocre, and if that ratio is cool with you, then listen away. After more than a decade it’s impressive that I am still drawn to their subtle indie-pop, which is a feat in itself.

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