Tag: album review

Seapony – Go With Me

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Rating: ★★★☆☆

Jen Weidl and her posse in Seapony definitely have something wonderful going on in their debut for Hardly Art, Go With Me.  After lots of critical acclaim on the net, it would be easy to throw this band aside as just another band making bedroom pop, which they do for the most part.  But, if you can discard similarities to various other bands, you’ll find that lay in wait, waiting to carry you off.

“Dreaming” begins the entire affair with what is probably the most energetic you’ll find the band, and at times, the guitars emulate Mike Sniper and Blank Dogs.  Those pounding drums, twanging guitars, well, they’re all nice and clean, but what will really get you is the pop sensation.  You can forget about comparisons, as Weidl’s voice definitely gives a new spin on things here.

There are easily a lot of tracks on this record that one might identify as ripping off various other acts, or at least being easily influenced, but a special song is a special song, regardless of whether it was made by Seapony or various other bands out there.  “Into the Sea” is one such track, with guitars maneuvering along the sunny coastal region, and the hazy Jen warmly singing atop it all. In all honesty, Weidl is the savior of Go With Me.  She does it again on “Go Away,” which sort of sounds like a cross between Best Coast and Girls Names, but her girl-group approach to vocal delivery, not to mention the nod to such things with her lyrics, makes tracks standout beyond the masses.

There’s tons of comparisons that can be made all over the place when listening to Go With Me.  You might find a Best Coast reference here, or even a Wild Nothing allusion, but what probably sticks out the most is how similar Seapony comes to sounding like a happier version of Blank Dogs.  The recording of the angular guitars in songs like “Always” or “Where We Go” almost plays like a Sniper remix, but perhaps that’s why it’s so easy to dig this record.  Everything sounds familiar, and yet it doesn’t sound familiar at all. Lyrics aren’t typically this adorably put together, and girls usually don’t work well, at least not as of yet/late, in this genre.

Even with all these noticeable nods to the indie landscape of today laced across this album, I’ve found myself spinning it again and again.  Part of me has a soft spot for any music of the ilk, part of me finds some odd connection between Camera Obscura and bedroom pop of the now.  It’s precisely the kind of record you can listen to while swinging your significant other around the living room instead of hitting up the bars. For that alone, Seapony and Go With Me deserve a nice little spot in your collection, not to mention the fact that you can include any number of tracks all across your summer mixes.

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

Download: Seapony – Blue Star [MP3]

White Denim – D

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Rating: ★★★½☆

Long the darlings of the Austin music scene, White Denim are now on their fifth full-length studio release since their debut, and have adopted the chameleon-esque style since their origin, changing ever so slightly based on what works for the band and as well as for the live setting. Notorious for their excellent live performances, this band looks to project their skills into the bedrooms of their listeners, becoming more than just a great live band. On D, it seems like they have got a handle on this task.

Things get rolling on “It’s Him!” and they certainly start they way that you would expect: in the jamming, cymbals crashing, bass throbbing and those psychedelic guitars wailing. As always, White Denim brings that explosive energy to their craft, but this time, it’s with a distinct change for the better in vocal clarity. James Petralli’s odd yet endearingly high-pitched voice serves as the glue factor to piece together the explosive instrumentation. On this first track, it serves its purpose quite well; with the swirling beats, Petralli’s voice keeps the song from whirling out of control.

“Burnished” keeps things going in terms of the psychedelic guitar parts, which welcome you into this second track. On this number, you can definitely tell that this would be a treat to listen to live because the second half of the song is a break down from the band, filled with riffs and head bob-inducing sound. It’s also a pretty good song on this recording in that the cut to just instrumentation didn’t turn into a takeover of self-indulgence. Sure, the same jam continues all through the next song “At the Farm,” but nowhere does it turn boring and banal. It retains those intriguing qualities and you are left with a solid five minutes of pure instrumentation that doesn’t fall flat when played through your bedroom speakers.

But White Denim isn’t just about the jamming, as they slow things down on numbers like “Street Joy” and mildly on “Drug.” These numbers show their diversity and competence to craft deeper set songs. That being said, these two tracks are the extent on their diversity, which makes for a pretty straight set album. D gets a tad monotonous towards its end; you can only take so much fast paced and furious guitar shredding and rolling drums before things begin to sound repetitive.

Regardless, this is still a good direction for this band to strike into. They keep making those vital changes so that their studio music can match what they play live and D is certainly a pretty decent effort.

David Bazan – Strange Negotiations

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Rating: ★★★★☆

David Bazan has a long list of accomplishments and releases, be it with Pedro the Lion, one of his other bands, or alone. With this as his third full length under his own name, Bazan adds another notch to his belt of alternative indie rock achievements, and with it he brings the same in-depth songwriting and deep man voice as before.

For fans of this bloke, you’ll be pleased to hear that not much has changed sound wise; he didn’t feel any urge to suddenly mix things up with electronic beats. It’s classic Bazan, profound lyrics that delve into personal subjects, urging you to do the same as you listen. Records from this man have always been personal, and Strange Negotiations is no exception (not that you would want it any other way).  The album begins with “Wolves At The Door,” which kicks things off a little faster than one might except from this gentleman. You get more of a grasp of a pop tune as opposed to a deeply rooted and meditative slow jam that you would expect. Nevertheless, the implications of this man are not to be missed, especially when he plainly states, “You’re a goddamn fool and I love you.” It begins the motif of acceptance through faults and Strange Negotiations.

As you move down the track list, song after song strikes with the same deep resonance, none of which fall as too vague or intricate. Each and every song has aspects that push it up to Bazan’s level of intimacy, adding to your relationship with this man, as he confides in you his innermost sentiments and stories. Whilst doing this, he is able to build up such a relationship to the point where he can give some epigrams to his audience, but it doesn’t feel like he is preaching, but rather mentioning something to a close friend over a drink. On “People,” one of my favorites, Bazan nonchalantly iterates words of solemn truth like “When you love the truth enough you start to tell it all the time / when it gets you into trouble, you discover you don’t mind.” It’s the little lines like that, that increase my love for this man and his writing.

Much later on the album, when you reach the title track “Strange Negotiations,” it only feels right that it is a long, drawn out reflection. It feels like this whole album has been building up to this point, and at six minutes and ten seconds, you can let his voice sink into the recess of your mind, touching something, hopefully evoking some sort of emotional response. The finisher, “Won’t Let Go,” which is as slow and provocative as its predecessor, follows, to end on a serious note.

In all, Strange Negotiations is a ten song work of carefully crafted lyrics and melodies that are sure to strike companionship into those who choose to listen, if companionship with David Bazan had not already existed.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/01-Wolves-At-The-Door.mp3]

Download: David Bazan – Wolves At The Door [MP3]

Let’s Wrestle – Nursing Home

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Rating: ★★★½☆

In a year’s short time, it appears that Let’s Wrestle has come a long way. After releasing and impressive debut in 2010, they’ve worked hard over the past year to push for another stellar alternative rock album. They stick to their guns on Nursing Home, using the formula for success that they accumulated on the past record.

Things start off with “In Dreams Part 2,” which gives a preview as to what this band can bring to the table in raw form. It begins slowly for the first few seconds, and then Let’s Wrestle kicks you in the face with their raw guitars. Then Wesley Gonzalez begins the iteration of his dreams, which seem strange, but it is only fitting, as they are someone else’s dreams. It’s an interesting and intriguing start off typical of this band. On the next song, “If I Keep On Loving You” they keep up their furious brit-punk stylings, but crank up the catchiness. I mean, you start off with some throbbing bass, add in the matted drums of the slight shriek of Gonzalez, and it’s love at first listen. For such a valid start, it’s easy to feel like the only way that Let’s Wrestle can go from here is up, and, it’s a pretty valid conclusion to come to.

This band goes on in their common fashion, but the songwriting feels a tad more complex on Nursing Home. They tackled dreams on track one, love on track two, living in the suburbs on track three, taking care of a mother on track six, the list goes on, etc. “For My Mother” comes as a bit of a standout for this band, both in the songwriting sense and in the typical sound of Let’s Wrestle. It’s a song without the classic raw guitar and the blasting cymbals and an emphasis on the delicacy of such a slow punk tune. There still are the perfectly imperfect vocals and the edginess, but it’s channeled into the soft plucking of the guitar along with the faint drums.

The only problem that I have seem to come across on Nursing Home is that there are a few, and I mean a few, songs that I can see myself passing by on future listens. On the last album, every track was a good pop-rock tune, destined for repeated listening, but there are a few that fall flat when you reach the end of the album. Perhaps it is just the nature of this style of brief songs, but overall, it’s a fairly decent album that will have you tapping your toes and clapping your hands to the fast paced beats.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/dearjohn.mp3]

Download: Let’s Wrestle – Dear John [MP3]

Chad VanGaalen – Diaper Island

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Rating: ★★★★☆

Without a lot of prior  knowledge in regards to Chad VanGaalen, I pressed play on this album with the notion I would be hearing cheeky punk beats. When an album is named Diaper Island, I can’t help but feel like there is supposed to be edgy and not-so-dramatic tunes to be listened to. I was shocked upon listening to hear the beautifully meditative craft that has been spun for us. Perhaps I’m jumping on this man’s bandwagon a little late; he does have other album releases dating back to 200, but still, this Shins, yet darker, sound is really enticing.

Despite the first two songs being all right, the one that got me hooked was “Burning Photographs,” the third track. It starts out with some cloudy ambience, and then jumps right into that catchy guitar and soft percussion that has me classifying it as jangly pop/rock and will have you bobbing your head and tapping your feet. VanGaalen’s voice is perfectly sharp and produced to fill the space not already taken by the groovy beat. At this point, I started to listen with extra-keen ears, hoping that more songs like this would grace Diaper Island. Luckily, I was right.

“Heavy Stones” follows, slowing down the album after the last song. While “Burning Photographs” was explosive and sharp, “Heavy Stones” is contained and meditative. On this one, the vocals remind me of those of Tony Dekker from Great Lake Swimmers, but that may just be due to their shared Canadian origins. Regardless, it is a song that presents its calm-sounding self to listeners, luring us into the peaceful sounds, only so it can break our hearts when VanGaalen croons, “I can’t remember your name” during the height of the song. “Sara” continues this calm spin on things, but the vocals have taken more of front spot for this number, becoming the main aspect.

After being introduced to two very different styles this early on the album, you can’t help but wonder if it is going to be a continuation of variety, or if the artist will pick a side in their styling’s. This man is different in that he does not; Diaper Island becomes a culmination of jangle and soothing, with “No Panic / No Heat” serving as the song that ties both sides together into one. The rest of the album continues in this fashion, and at the end, I was quite impressed; there are a lot of stunning qualities that I was missing out on in Mr. VanGaalen.

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

Download: Chad VanGaalen – Sara [MP3]

Snowmine – Laminate Pet Animal

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Rating: ★★★½☆

If you haven’t heard of Snowmine, and odds are that you haven’t, sadly, then let’s just say that you’ll probably fall in love with listening to Laminate Pet Animal.  It’s got references to all sorts of sub-genres beneath the indie umbrella, with each demonstrating the unique craftsmanship of this Brooklyn group. This record has the band poised to start their introduction to the masses.

“Beast in Air, Beast in Water” has a really ornate approach, using a dark percussive skeleton to kick off the entire affair, met with ghostly group vocals.  As the vocals quicken, your anxiety is met with a sweeping harmony of a chorus, including a nice little symphonic arrangement to provide extra depth.  Seriously, just let this chorus warmly wash over you.  And if you thought the band would only stick to one direction, their intentions to mix things up are made with “Penny,” the second track on Laminate Pet Animal. There’s a bit more of a driving momentum to this number, though it has a similar, though more melodic, vocal approach.  Again, you’re greeted with a gorgeous rising pitch vocal in the chorus.  Songs like these are easily appreciated by all.

Perhaps one of the more gratifying things about Snowmine is their willingness to explore the outer spectrums of indie rock.  “Danger in the Snow” has sort of a tribal beat that runs through it, and the rest of the song feels as if you’re meeting the more spastic younger brother of Grizzly Bear.  Once again, arrangements of horns and what not strengthen the sound, providing a more distinct sound for the group, rather than allowing them to live as pure mimics. But all this barely holds up to what the rest of the collection has in store for you…just wait for more direct pop joy.

Perhaps too much of the first half of Laminate Pet Animal is dictated by experimentation and lush arrangements, for once “Let Me In” breaks in, there’s no turning back.  This is perhaps the best song on the record, and perhaps one of the best tracks of the year to date.  It’s such an unassuming track, mingling along with trickling guitar lines, rim shots on the drum, and a wondrous melody that captivates you time and time again. Similarly, “Hologram,” closes out this effort from Snowmine with a slow-paced, piano-backed ballad.  Emphasis here is definitely placed on the craft of each harmony, making sure it coincides with multiple vocals tracks and various entrances and exits of instruments.  More than “Let Me In,” it delves a bit further into the creative side, but near the four minute mark, the speed picks up, carrying the song to a triumphant close.

Listening to this record is something everyone should participate in this week.  The songwriting is magnificent, as well as the emphatic touches of careful accompaniment.  Putting it all together perfectly is the key that makes Laminate Pet Animal such a success, and you’ll walk away from the effort wishing you had more from Snowmine to take with you.

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

Download: Snowmine – Let Me In [MP3]

Gold-Bears – Are You Falling in Love

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Rating: ★★★½☆

With summer break looming over us all, it’s the perfect time for a twee-punk band like Gold-Bears to make their debut. As this is their first ever album released, this band is brand new to the music scene and looking to win a spot in your heart as well as your stereo. Surely you have room left for some jangly guitar and hazy percussion in there?

From the very first song, you can hear the clear alternative punk soundings of Gold-Bears. “Record Store” begins with flat sounding drums along with gentle acoustic guitar, and then some raging, yet even-toned, electric guitar streams in. Then the song picks up, and you have the carefully placed cymbal crashes along with breaks in the raging melody to that of the delightfully soft beginning. Meanwhile, the suiting vocals blend together with the instrumental aspects of the jam. After this lovely opening tune is finished, the band moves to “All Those Years.” On this one, some gang vocals continue the energy and are instantly reminiscent to bands like Ted Leo and Pharmacists. They’ve got that crash pop beat mixed together with the percussion of a more punk style band, which is noticeable on the third song.

After a pretty positive and upbeat start for Gold-Bears, they slow things down as they approach the middle of the album. The title track certainly stands apart from the rest of the songs in this body of music, as it is filled with foggy feedback and jingling tambourine that is sure to serve as an appropriate break from the quickness of the fast paced start. It’s the perfect placement of such a song that slows the listener back down for a breather, if only so they can jump back in at double time on the next number, “East Station Attendant.” This one is the direct opposite of its predecessor, fast, short and rocking.

Gold-Bears continue this impressive debut with more standouts like single “Tally,” that relies on gang vocals once more to carry the streaming beat. They close strong, yet delicate, and leave their listeners happy to have taken a chance on this band. For a first album, it is nothing short of appealing. So when you reach the end with them, and reflect on Are You Falling In Love?, you can answer with a yea, I’m pretty sure I am.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/GoldBears-SomethingToThinkAbout.mp3]

Download: Gold Bears – Something To Think About [MP3]

Thee Oh Sees – Castlemania

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Rating: ★★★½☆

A bit of time has passed since Thee Oh Sees released Warm Slime, but we’ve not got the first of two 2011 releases from the band, Castlemania.  Apparently the band dedicated a lot of time in the studio to the recording of this record, and while the songs are kept short, the extra layers definitely provide a great deal of depth to the band’s sound.  It’s a record full of twists and turns, all of which leave us asking, what can the band do next?

“I Need Seed” begins our affair with bit of a repetitive stomp from the group, though that’s a good thing here.  Call and response lyrics, make this a catchy ditty, but it’s not too polished, keeping the live element of the band on the studio recording.  Then you’ll move into a bit of a boogie with “Corprophagist,” which blasts off with horns and such amid the cacophonous vocals evident here.  It’s an energetic beginning to Castlemania, and one that sets the tone for the places Thee Oh Sees will go.

Studio effects are definitely apparent by the time you get to “Corrupted Coffin,” which features some sort of organ, atop all the horn work.  Slower pacing creates the space for the band to bring their own noisy style into the area where one might normally place a chorus.  But, this track doesn’t prepare you for the following number, “Pleasure Blimp.”  You can see similarities with Sonny and the Sunsets, using that old barroom country effect to create a sing-a-long melody, though their version is filled with a little less clarity in regards to the sound of the vocals.  Different band, different spin.

Even with all the twists and turns, you can easily follow the musical path on Castlemania, which, personally, contains some of my favorite tracks. “Whipping Continues” shares some style with the opener, providing you with a bit of a stomp, but it’s the melodious vocals, aside from the baritone in the background, that really reach out and suck you into the song.  Wild yelps give you hints at how Thee Oh Sees kick it out live, combining great studio moments with live attributes.  You’ll then find a bit of swagger with “AA Warm Breeze,” which uses varying vocal approaches, not to mention a mean little harmonica soloing in the various spots.  Then the band get as close as they probably ever will to a nice ballad with “If I Stay Too Long.”  Everything about this track should make you a fan of the band, or at the very least the song.  There’s that bit of discordant noise, yet the chorus with its dominating female vocal illustrates just what a bit of focus in the studio can do for an already incredible band. Probably one of my favorite tracks of the year.

There’s sixteen songs on Castlemania, and not a one of them could be considered a bad track. From the minute the whole record kicks off, Thee Oh Sees are taking a new approach; they’re combining quality recording time with their live energy.  At times, you feel as if you’re right there stomping your feet along at your favorite venue, and at other points you’re glad the band had the wherewithal to give a little bit more depth to their powerful sound.  In the end, you’re not going to go wrong spending a lot of time here.

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

Download: Thee Oh Sees – I Need Seed [MP3]

Castelmania is out now on In the Red Records!

Here We Go Magic – The January EP

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Rating: ★★★½☆

The six songs on The January EP are leftovers from the band’s session for Pigeons, and while leftovers might seem like a bad thing for fans of Here We Go Magic, there are definitely tracks on this offering that might outshine some of those featured on the full-length.

While you begin with the psychedelic leanings of “Tulip,” you’ll notice that there are definitely some more upbeat moments that lay in waiting for future Here We Go Magic releases. Luke’s voice still has that boyish quality to it, and while the song moves into a sprawling blend of harmonies before going back to the California-chug of guitars, you’ll begin to wish this had come mixed in with the latest LP.  Similarly, “Backwards Time” has a more upbeat feel than some of the tracks that precede it, but this is where some fans will wish that the group went more often.  It’s clear the drums are pushing the song, but Temple’s vocal delivery really does its best to grab the listener’s attention.  Quite possibly this is one of the best songs these guys have written.

Don’t think that there isn’t a slow burner on this record.  You know, the one’s where Here We Go Magic really work on composing floating pop galaxies where Luke’s voice can carry any note.  They do precisely this with “Hands in the Sky,” and at times, you can almost feel yourself drifting away with the song, while electronic elements provide sounds from those old science videos on space.  Listening closely, the percussive element of the group definitely holds the unit together, as the drumming serves as a tight metronome-like beat.  And you can juxtapose that tight formality with the closing track “Mirror Me,” which has a murky feel to it, perhaps influence by programmed beats that mirror blown speakers.  Hidden inside this track are some incredible moments, but this, like few of the other tracks on the January EP definitely feels like it was one meant to be left over.

Perhaps Pigeons needs a revisiting.  If a handful of incredible songs were left laying around when Here We Go Magic wrapped up their recording, then that album’s got to be full of magnificent gems.  You can tell with the January EP that it has thematic differences from its forefathers, so lets hope it indicates a continued bright future for the band.  If at the very least, we can see a unit evolving into a tight-knit group of melodic songwriting that we’ll all enjoy for some time. So in the end, you’ll surely agree that this doesn’t taste like leftovers.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/02-Hands-in-the-Sky-1.mp3]

Download: Here We Go Magic – Hands in the Sky [MP3]

Psychedelic Horseshit – Laced

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Rating: ★★★½☆

When one is a member of a genre that has been dubbed ‘shitgaze,’ you must know how to walk the tall tightrope between producing music that is entirely listenable and enjoyable, and producing music that sounds like, well, shit. If used simply to add a slight layer of distortion that mostly fades away to reveal solid tunes then it falls into the first category. If a band simply mixes layers of ill-fitting instruments, the result is that of the second. Thankfully, it seems as though Psychedelic Horseshit falls into the first category, for the most part anyways.

“Puff” starts things out in a mildly timid manner. Squalling feedback noises echo in slightly at first, while a grumbling noise builds to execute a groovy first tune of pure instrumental. This beat continues to the next song on which the buzzy vocals of Matt Whitehurst come into play. His addition to the muddled jam is foggy at first while you acclimate to the overall effect, but by the end of the second song there is a general feeling of normalcy to Psychedelic Horseshit. Thanks to his voice matching the instrumental aspects, the first two songs, short as they may be separately, seamlessly combine to create a good introduction to Laced.

As I said before, the majority of this album falls along the line of an enjoyable uniqueness. Some of the highlights of this feat come on numbers like “Tropical Vision,” where the band uses the gritty ambience of the background to set the tone of the song. I mean, when you open with the noise of birds and bongos, you can’t help but feel the waves and sun of the beach. To me, this is probably one of the most enticing songs on this album. The aspects that combine to make-up the ‘shitgaze’ definitely attribute to something, as opposed to just being there to fill empty space on a record. It feels motivated instead of random.

What makes this band able to produce quality albums is the ease of enjoying their sound; I don’t have to struggle to discern the good qualities, they lay them out quite plainly. That being said, there are a few songs that I straight up don’t like for the same reason: they are too plain. I understand what the band was going for on “Dead on Arrival,” with their slow-paced and bleakness, but it doesn’t do much for someone on a listening standpoint, but perhaps that’s just based on my own listening standpoint.

Regardless, I’m still in awe that I could enjoy something within the genre of ‘shitgaze’ so much. It’s the perfect chill record for the up and coming dog days of summer.

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