Tag: album review

The Antlers – Burst Apart

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Rating: ★★★★☆

Back in 2009, this band first made their way to the top of the Indie-scene with the release of their stunning album, Hospice, which graced the sound systems of many with its emotionally progressive lyrics and cathartic sound. With the release of Burst Apart, it feels as though this band has already been around for a long time, despite it only being their sophomore effort. While not as pressing as their last, this second release from the band shows appropriate growth for The Antlers.

On Hospice, they reminded me a bit of another Brooklyn band, The National, in their dark and somewhat dreary lyrics. Now, on this album, they seem to be a tad more focused on the aesthetic aspects rather than just the lyrics. The approach feels more ethereal and vague, giving out the sense of maturity and complexity. I’m not saying this band gave up their narrative writing in exchange for a smoother record. Rather, it’s just not as prevalent on this work. Take “I Don’t Want Love,” the opening song, for example: the sweeping guitars and the half falsetto of Peter Silberman flowing over the top of methodic drum beats. There is still that desire to throw away all emotionally caustic elements, but it simply enveloped inside the wail of the arching guitar; it’s a great opener for The Antlers.

They follow up their opener with “French Exit,” on which the sound transitions to an almost danceable beat. The bass resounds heavier, accompanied by some electronic elements to boot to make for a head-bobbing and foot tapping experience, which is not what one would quite expect from this band. After they follow this with “Parentheses,” the single from this album, The Antlers keep doling out hit after hit.

On numbers like “Rolled Together” you start with some ultra faint guitar drizzling in, and once again the strange, and oddly high-pitched wails of Silberman. They build upon themselves in this one; guitars trade places with the vocals until they mix and become one cohesive wave of elegance. They finish with “Putting The Dog To Sleep,” which sounds as dark as the title denotes. Silberman asks someone to “prove to me I’m not going to die alone,” and you can feel the demons that plague this man transmitted through his captivating lyrics.

Sonically, this band is quite strange. If you separated all of the elements that this band has and isolated them, they would sound weird and moody. However, when together, they weave into a blanket of comfort that is able to convey all sorts of feelings and release. I find it odd that The Antlers would release this now, one the brink of summertime, when it would have been the perfect late fall/early winter jam. Regardless, it’s an excellent work, worthy of listening at anytime of year.

The Felice Brothers – Celebration Minotaur

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Rating: ★★★☆☆

If the rumors are true, The Felice Brothers started their musical careers as a band playing in the New York City subway system, which would explain their vagabond sound. With this being their fourth full-length releases to this date, this band looks to continue their folksy alternative rock on Celebration Florida.

 If you’re someone who has never listened to this band, it may take a little while to acclimate to their scatterbrained style of jams. I mean, it’s nothing revolutionary, but there is a certain looseness that takes getting used to. On the fist song, you can see this creative lack of order. Starting out with “Fire at the Pageant,” the primary sounds that arrive at your ears are that of some percussive elements, which begins the stomper. Transitioning back and forth between explosively loud and then quiet and soft, they seem to be playing a bit with their audience, giving them a taste of the whimsical yet seriousness of their craft.

Despite the jangly start, there seems to be a hint of sinister creeping through the notes on the first number, which continues later on in the album, but is pushed under the rug for the next few songs. The next standout track comes on “Honda Civic.” Despite my affinity for this song, I feel like I would like it about five times more than I do if auto-tune wouldn’t have been used on the chorus. Otherwise, this number is great; horns throughout combining with the prevalent vocals make for a groovy beat.

Some of the melancholy and more serious side of The Felice Brothers is evident on “Ponzi,” which features dramatic and sultry piano throughout. But only serious for a little while, until they break out of the tango-esque mold and into their own jamming style. However, this seems to be the tone of the rest of the album. This band keeps on doing their thing to the very end, whether it’s breaking things down, or keeping them stoic and reserved.

They maintain this balance pretty well on Celebration Florida. Things get a little boring for me at the end, but the great start compensates for this. Overall, it definitely has some songs that are enticing enough to become part of my every day repertoire, but not nearly enough to land Celebration Florida among my list of greats. Regardless, give it a listen yourself.

Okkervil River – I Am Very Far

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Rating: ★★★★☆

Anytime you get an Okkervil River album, you know that you’re going to be in for a quality listen.  Carefully orchestrated songs are wrapped in dense lyrics, though we’ve grown accustomed to some sort of thematic representation on each album–not the case here, though that’s irrelevant in the long run.  You can see sort of a re-imagining of the band’s sound, as I Am Very Far goes much further than the territory previously danced around on earlier works.

You open the record with a bit of noise teetering, but it’s the hard-hitting echo of the snare that brings in the song, just as Will Sheff begins his discourse.  One of the elements that will immediately stick out is how far the production and orchestration has come since the early days–just take a listen to the string arrangements and piano pieces added for textural purposes. As you begin to take your journey with I Am Very Far, you get what seems like a much more playful Sheff, in so far as his vocals hit varying ranges.  He opens with a bit of an off-key croon, which provides a bit of swing to it all, though the greatest quality of the past that seems to return is the raw edge of his vocal, scratching at your ears; this has been a quality he seems to have put to rest with recent releases like The Stand-Ins and The Stage Names.

What’s surprising this go round is how comfortable Okkervil River seem on the gentler tracks throughout this collection.  In the past, they occasionally came across as afterthoughts, or pieces that fit the greater story, but stripping thematic story lines away apparently has allowed for songs like “Lay of the Last Survivor” to take the spotlight.  Here you have a completed song, something where the finer details fill out the empty space, giving more depth rather than just rely on Sheff’s unique voice.  “We Need a Myth” similarly gives the band room to elaborate on the sound of the unit as a whole.  Piano topping strummed guitar with echoed vocals really allows for the song to make its mark, moving the band’s sound further than many have come to expect.

And by this point you’re half way through with your listening experience, and it can only get better, remarkably.  “Your Past Life as a Blast” may not sound entirely like Okkervil River, but that’s precisely what allows for this record to really make a statement as to where the band stands currently.  Even the single from I Am Very Far, “Wake and Be Fine,” has a ferocity to it that we haven’t seen a whole lot from the group, with Sheff’s vocals coming off a lot more forceful, while the rest of the group keeps things balanced.  Be sure you don’t skip the closing moments of “The Rise,” perhaps one of the shining moments in all of Sheff’s writing career.  It all stands to say that this is a band that we thought we knew well, and we thought we knew just what to expect.  But, a few tweaks to the system have created a record that is very far from where the band seemed to have been, giving us all an entirely new Okkervil River to enjoy over and over again, down the river of golden dreams.

Other Lives – Tamer Animals

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Rating: ★★★★☆

Originating in Stillwater, Oklahoma several years back, Other Lives are definitely a band you want to discover, if you haven’t already. Their sweeping and dramatic music was first introduced back in 2008 with an EP that consisted of some demos, as well as a taste of their true form. From there, they had me hooked, but some people are a little more picky about their musical appetite. However, I think it’s safe to say that if Other Lives didn’t have you after their first EP, or even their stunning debut, they should definitely have you at the end of Tamer Animals.

The album begins at a slow creep, as per suit of this band. Musically, the tempo may be slow, but it’s nowhere near boring or banal. Instead, they begin their assault on your being. “Dark Horse” starts with some clicky-clacky percussion, and the song builds on itself quickly to a slight crescendo, strings and all, at just over the minute mark. Then the sound cuts out for an instant, and Other Lives begin again. Jesse Tabish leads the way with his alluringly sinister, yet tender vocals. His voice has a very cohesive quality about it that allows it to coat the space in between the sprawling violin or jangly percussion in an epic light.

Following the opener in the song number two position comes “As I Lay My Head Down,” which picks up the pace, but does not skimp on the beauty that this band is so good at. It ebbs its way between sizzling and then cooled, trading back and forth with strings and pattering percussion. But Other Lives don’t stop their ascent to intense and moving music here. They continue this excellent two-song steak with a third: “For 12.” On this one, you have the gentle guitar pulling at the back of your mind, while the “oohs” combine with instruments to give a spine tingling effect. Whether this band knows it or not, their efforts are extremely goose bump-inducing.

So when Other Lives reaches the fourth and title track, “Tamer Animals,” there is no surprise that it’s love at first listen once again. With its faded and fuzzy drums and omnipresent piano, it’s as close as this band gets to pop without losing their epic-ness. Like the first four tracks, the rest of the album follows suit: cathartic, and mildly explosive.  Highlights include “Old Statues” and “Heading East,” both of which encompass the delicate elegance that is so pertinent to this band. To be honest, I didn’t find a track that I didn’t like; they were all that good.

Despite its name, there really isn’t too much “tame” about this album. Other Lives have evolved into a more confident beast here than that of their previous works, but they still keep a firm grasp on such a swelling sound.

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

Download: Other Lives – Tamer Animals [MP3]

Colourmusic – My _____ is Pink

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Rating: ★★★★☆

Having one of your key contributors stuck in England due to VISA restrictions isn’t ideal for any band, but in the case of Colourmusic, it seems that this unfortunate tragedy led to an entirely different beast.  While their first effort circled around pop hooks with epic jams, this new piece is a fierce animal, forging new ground for the band, making My ____ is Pink their best collection of songs to date.

If there was any question as to what type of album this would be now that the band are primarily a three-piece, “Beard” sets the record straight just a few seconds into the track.  Scuzzy bass blasts straight into your ears, while singer Ryan Hendrix hauntingly wails in the background.  It’s an about face for a band that once dominated the music scene with their theatrics, and clever hooks. My ___ is Pink is in your face all the time.

Despite it’s grittier feel from the get go, don’t think that Colourmusic have released their grasp on playing with pop structuralism.  “Feels Good to Wear” has the group toying with space, letting atmospheric elements ring out, while the bass bubbles in from time to time, and drummer Nicholas Ley keeps everything tight and steady.  Similarly, “Dolphins and Unicorns” uses the band’s playfulness, in both title and craftsmanship, to get a bit funky, twisting out what one can assume is a little pedal work from Hendrix on guitar, and Ley again working the percussion like very few can. Clearly, the band aren’t messing around anymore, as even they’re pop experimentalism is focused.

The meat and potatoes for My ___ is Pink comes perhaps a bit too early, but demonstrates above anything else, that Colourmusic clearly came ready to make a name for themselves. “You For Leaving Me” uses gang vocals and a hint of organ to create this grand emotion, just as Colin F. brings back in that devilish bass line, kicking the song off into some Satanic re-incarnation of the Polyphonic Spree; but it’s not a chorale track, it’s a kick right to your sweet tooth.  From here you jump right into “Tog,” the lead single from the record.  You’ll hear hints of the previous album in Hendrix vocal softly floating atop this track, but Ley’s drumming, as well as the rest of the musicianship give the song a solid backbone. Perhaps one of the greatest elements of this song is the group’s ability to hold back, when easily you can see them letting loose on listeners in a great wall of fury.

You’ll love the epic “The Little Death,” which seemingly serves as a reference point for everything the band holds dear.  There’s hints of industrial music in the opening few minutes, modern avant pop in the vocals, hints of noise-rock and metal, and a nod to knob twiddlers in the end.  While it’s not the finale of My ____ is Pink, it very well serves as a reckoning to listeners, both present and future.  Colourmusic is no longer that cute little band that wrote jam-laden pop tunes, they’re an angry band here to exploit anything and everything they’ve ever loved about music. They’re going to throw it in your face, and the great thing is, your going to see where they’re coming from, know who they are, and you’ll love it, every bit.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/06-Tog.mp3]

Download: Colourmusic – Tog [MP3]

Times New Viking – Dancer Equired

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Rating: ★★★☆☆

If there is be a perfect time for Times New Viking, it’s now. With the rise of so many different jangly pop and lo-fi bands, there could not be a more suiting atmosphere for this album to be released. Already equipped with a significant fan base, this band is here to show the rest of the music world that they are at the top of their game; more defined in their noise pop sound.

Heavily distorted vocals and echo-y guitars fill the first number, “It’s A Culture,” which sort of feels a little mismatched and out of order at its beginning, but develops into a fuzzy toe tapper, with Adam Elliot and Beth Murphy sharing the muddled vocal responsibility. It’s a bit of a foggy start, only to be contrasted by the second song, “Ever Falling in Love,” where the band seems to tighten things up a bit, wrapping overlapping vocals about a steady guitar riff.

A common problem with having an album largely based on short simple songs, is that that some of those little bits become throw-aways, and leave you wondering why they were included into the mess. Songs like this, in my opinion, come on the utmost of shortest jams, such as “New Vertical Dwellings,” on which everything is out of sync. For the most part, the drums don’t match the guitar, which doesn’t match the vocals, leaving the song to sound like a bunch of elements thrown together haphazardly. At only one minute and nine seconds, a song without substance may not seem like that big of a blemish, but it just makes one question the production of this album. Even though a band’s sound is lo-fi, doesn’t mean they can skimp on the quality of music they produce.

But Times New Viking doesn’t completely fail on this album; the tartness of “Fuck Her Tears” gives a taste of the classic sound that this band exemplified on their last album, while “Somebody’s Slave” slows things down for a gravelly slow burner that keeps you hanging on to the rolling drums. Following this is the weirdly distorted and emotional “No Good,” that is a simple and odd way to end the album.

Abundant with its carefree nature and brisk songs, Dancer Equired, feels just right for the increasingly hot weather and sunshine. Despite some less than satisfactory numbers, the fun of the good ones combine to outweigh the bad, leaving you with a pretty mediocre, yet enjoyable album.

[audio:https://austintownhall.com/wp-content/uploads/2011/04/Times-New-Viking-Ever-Falling-In-Love.mp3]

Download: Times New Viking – Ever Falling In Love [MP3]

Dancer Equired is out now via Merge Records.

Fleet Foxes – Helplessness Blues

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Rating: ★★★★★

When Fleet Foxes released their self-titled debut back in 2008, they took the musical world by storm with their folksy, and harmony flooded jams. So when they announced that they would be releasing their sophomore album, much anticipation grew for what this cherished band would do next. Could they potentially follow up their flawless debut with something even better? Or would Helplessness Blues be forever dwarfed in a shadow of comparisons to the album that won you over to the Fleet Foxes side in the first place? Based on my rating, it should be pretty easy to tell where I stand.

This album may be a step in a different direction for this band, but it certainly is the right one. “Montezuma” begins with delicate guitar plucking and the almost too perfectly sweet vocals of Robin Pecknold, joined quickly by the harmonies of the rest of the band, bathing you in warmth. For Fleet Foxes, this is probably the perfect opening song; the simplicity paired with the introduction to a new sound for makes it rightly placed. Whereas their last album relied most heavily on the vocal aspects, it seems as though the instrumentation has become a stronger force on the same level as that as the vocals. This allows for Fleet Foxes to step into that tender climate of being far enough away from their old stuff, but nowhere near unrecognizable.

The rest of the album follows suit in a way that only this band could; you’ll be hard pressed to find a song that you don’t love. On the first half of the album, you have soft at first then earthquake strength of “Sim Sala Bim,” only to be outdone by the climactic “The Plains / Bitter Dancer.” But to me, the real superstar comes on “The Shrine / An Argument,” which has be arguably one of the best songs of the year. Last, but certainly not least, you have the explosive, jangly, single, “Grown Ocean” which serves as the icing on the cake.

So at the end of this masterpiece, it’s easy to be transfigured by the delightful and beautiful sounds that this band has produced. It’s remarkable how they were able to produce two flawless albums back to back, and if they hadn’t already marked a spot on your list of favorite bands, then this should certainly seal the deal. Look for this to make its place atop some end of the year lists.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/FleetFoxes_HelplessnessBlues.mp3]

Download: Fleet Foxes – Helplessness Blues [MP3]

Cass McCombs – Wit’s End

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Rating: ★★★★☆

On his website, McCombs claims that this fifth record is a venture “going deeper into the mania of a man buried alive inside his self-made catacombs,” indicating that this album is a continuation and further explanation of said metaphor. However, even without this tidbit of knowledge from the man, Wit’s End is inclination enough to denote this surge to a more intricate and deeper reaching sound for Cass McCombs.

Wit’s End begins on a nonchalant note: the slow-moving drum beats and Cass’s gentle voice just sort of slips you into to his realm of ambiguity. No moment of anticipation, or calm before the storm, rather, in an instant you’re with him on an adventure to discover, or explore the human psyche. Such is the case with “County Line,” and continues onto “The Lonely Doll,” in which an eerie lullaby tinkling meanders through the song meanwhile you are narrated through a spindly tale of the title character. At this point, McCombs comes off as a Bob Dylan esque figure in getting lost in his own mind. “Buried Alive” describes this feeling as being “in a sea of black” and you can’t help but empathize with this man; we’ve all such a feeling of lost-ness somewhere along the way and Wit’s End makes this feel natural, and even right.

As far as the actual music goes, there is not too much to rave on about. It fits with the overwhelmingly powerful lyrics, and I think that is all that really matters for this album. Yes, there is the softly eroding piano on numbers like “Saturday Song,” that slowly beats you down with every press of the keys. And yes, there is the tender horn-work on the finisher “A Knock Upon the Door,” but there isn’t a reliance on that musical crescendo of majestic beauty. Cass McCombs is unapologetically cryptic and shady because that’s just the way he is.

At first listen, it seems that Mr. McCombs may have gone too far around the bend. The soft plucking of the guitar accompanied by his whisper of a voice sounds akin to that of a jaded old man with several regrets and misfortunes. However, the more listens acquired, the easier it is to ascertain the meaning behind this mans’ madness. Or if no meaning arises to your ears, it is at least devastatingly interesting to listen to the plight of another. It will grow on you.

Girls Names – Dead to Me

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Rating: ★★★★☆

While it may be extremely easy to write about Girls Names, based on the fact that they fit right into the musical landscape as it currently stands, it’s almost impossible to get their latest effort out of your head. Being released by Slumberland, Dead to Me displays a band that’s sharpened their knives, ready to go to work crafting infectious pop you can bounce about to while working on pretty much anything that comes your way.

One of the great things about Dead to Me is that you aren’t likely to get bogged down listening to one particular track over and over again, as only two songs go beyond the 3 minute mark.  “Lawrence” begins it all with that jagged club dance guitar, but the drums themselves sound as if you’re tapping your toes, not like your normal snare work. And that just takes you right along to another track that gives you a little bit of pep in the step, though “I Could Die” has a much more gritty guitar that hammers throughout those hypnotic melodies.  Strikingly, the guitar, at times, has a sunny disposition, which is odd considering the group hails from Belfast, not Cali, but you’ll be glad they’re utilizing such style.

“No More Words” takes a softer approach to the craft of Girls Names, as Neil Brogan’s vocals warmly float over the entire track.  It’s not like you’ll find too much different here, but Brogan manages to off-set the pep by slowly drawing out his vocals, which might remind listeners of early work by Tim Cohen. Still, it’s all done in short time, so you’re sort of taking at shot in the dark at finding various textures, that is until you get to the longest track on Dead to Me, “I Lose.”  There’s a cloudy coat that barely drapes itself over this song, and the guitar’s are furiously pumping through the track, and you can tell that this isn’t just your ordinary stab at rehashing things that have come before the band.  It’s at this point, while noticing the differences, that you can clearly say you see the Girls Names as a fully functioning entity.

There’s likely to be comparisons to band’s like Crystal Stilts, especially after listening to the record’s single “Seance on a Wet Afternoon.”  There’s a darkness to the track, and one that likely permeates from the title Dead to Me, but perhaps it’s not fair to lump the band in with anyone else.  Brogan clearly has similarities to other dark crooners of the pop cannon, but his performance here makes it’s own mark, often feeling a bit unsteady, but in a heartening manner.  Surely by this point, if you’ve made it through all ten tracks as you should have, then you’ll recognize that it’s simply a joy to involve yourself with Girls Names.  They’ve worked hard to tighten up the unit, flesh out the sound, and it pays off huge dividends for both the band and listeners alike.

[audio:https://austintownhall.com/wp-content/uploads/2011/04/10_Seánce_on_a_Wet_Afternoon.mp3]

Download: Girls Names – Seance on a Wet Afternoon [MP3]

An Horse – Walls

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Rating: ★★★☆☆

Hailing from Australia, An Horse consists of Damon Cox and Kate Cooper who give off the impression of more than a two-part band. Two-part they are, and on this sophomore effort they don’t reach much further than that of Rearrange Beds, but as a fan of this band, I don’t see how this is any negative qualm. If anything, Walls has a more mature sound, while holding on to that edge-y pop sound that made them stand out in the first place.

The first song, “Dressed Sharply,” begins this album out with the edge and twang that this band is based around. Hard edged guitar floods the song with the bitterness, and combines with the lead vocals of Cooper, that is only juxtaposed slightly with faint oohs in the background. It gets you started on quite the raw note, but then “Not Mine” follows, slowing things down and changing the sound to somber instead of sharp. It is here that you can feel overtones of recent events in Cooper’s life in her lyrics. Her songwriting reflects her struggles of being on tour while a family member was ill back at home. While it must have been a painful time in her life, the writing feels intricate and mature; probably some of her best.

Some more standout tracks can be found on the title track as well as on “100 Whales.” “Walls” softens up things a little, but the Australian drawl doesn’t let it turn into mushy fest, while “100 Whales” waivers somewhere in the middle of outlandish and minimal, becoming one of the most balanced and even-headed tracks on the whole album.

Up to this point, there isn’t a bad song on Walls; each has been interesting and enjoyable. That being said, the last three songs of the album just dissipate. Something that started out fairly strong withers to a sadly boring end. It feels like this band just gave up and in light of this, the rest of the album is flattened. What could have been something fantastic turns out as something just good. Instead of ending on a high note, An Horse doesn’t go anywhere with their songs that make up the listeners last impression.

Despite being left disappointed, it’s still safe to say that the majority of this album is enjoyable. Have a listen, but perhaps just skip the last bit.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/an-horse-trains-and-tracks.mp3]

Download: An Horse – Trains and Tracks [MP3]

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