Tag: album review

Explosions in the Sky – Take Care Take Care Take Care

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Rating: ★★★★☆

In the days of computers for instruments, and a heavy weight on the vocals of a band, be it gang or solo, where do Explosions In The Sky fit in? Filling neither of these two aspects, they rely solely on the strength of their instruments to weave their listeners into an intricate web of simplistic, stripped down instruments. Known as Post-Rock, this genre of music allows for the music to be left up to your utilization: background music, inspiration for creativity, or something to contemplate.

For a merely six-song album, Explosions In The Sky do not fall short in the field of time for a full-length album. Instead, each song is long and sprawling, providing those crescendos and an abundance of catharsis that this band is famous for doling out. Take the first song, “Last Known Surroundings,” for example. Over the course of almost eight and a half minutes, you are taken to a variety of places by the changing rhythmic cycles of the instrumentation. Squalling, yet controlled guitars dominate the foreground of the song, while explosive drums kick in the background, leaving with the simplistic elegance that any song that this band produces contains.

While one might think that the long songs on this album would make each one stick out from each other as its own work of finesse, the contrary of this is true. Much like the chapters of a good book, each is brilliant, and they weave together to form a collective brilliance as an album. The sound fluctuates from loud to soft, and then back to loud again, giving those rolling hills of depth that are able to be filled with whatever strikes your fancy. Such depth allows for catharsis after catharsis and build after build without tire.

As I said before, one of the best qualities to this band is that they leave it up to you instead of forcing it down your throat. They pick the best possible times to grab your attention. So even if you are using their delightfully serene music as the filler of space while you work or think, they still have the ability to command your attention back to the music so that it can be commended as excellent craft. This is all you can ask from Explosions In The Sky.

The Fresh & Onlys – Secret Walls EP

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Rating: ★★★½☆

If you’ve been following the Fresh & Onlys over the last year or so, you probably saw that the Secret Walls EP lurked just around the corner.  Tim Cohen has been changing his own approach, and with that, so too goes the band’s sound.  This isn’t a bad thing by any means, unless of course you’re against change and progression.

“Secret Walls” feels like the culmination of the last few things Cohen and his friends have released.  Those hazy guitars have dispersed, though you’ll still find a cascading bit of angular guitar soloing coursing through the song.  What’s unique is that Tim sounds like some forlorn crooner, and he does it perfectly.  Such steps are slowly redefining the group’s sound, surely bringing along more fans as they go.

If you listen carefully to “Keep Telling Everybody Lies” then you’ll probably see a bit of a resemblance to a lost recording of some David Lynch movie opener, but Cohen’s vocals here revert to that warmth, something he’s now got great control over.  There’s hints of spaghetti western guitar, and a steady percussive pace keep the whole number afloat. Then the Fresh & Onlys go back to what they do best, progressing their sound, while maintaining their effortless cool.  “Do You Believe in Destiny” definitely rings aloud like a love track, and the Western sway of guitars gives it a bit of that California cool.  While in the past the band have managed to have this darkness coating their albums, this track portrays the sunnier undertones that live throughout the Secret Walls EP.

“Wash Over Us’ provides more of the same, cleaning the guitar sounds, as the group has done over the past several releases, and light piano tinkering continues to show a move towards a more pop-oriented spin for this short collection.  Don’t fret, “Poison Wine” brings back the element of shadowy haunts that the band has always pulled off so well. Cohen’s vocals seem to be hiding, almost creeping behind the rest of the band.  It’s not the most musical of tracks, which is perhaps its drawback, as this appears more as a construction of mood.  If that’s what they’re going for on this number, then they pull it off with great success.

Secret Walls seems like a brief foray into the group’s material, a stop-over while they continue to develop their sound.  It’s a great collection, and one that fans will fall in love with, but what’s more important is that it demonstrates a band that has such diversity in their writing that they can pretty much go anywhere they want to; when they go, I’m sure we’ll all adore it.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/The-Fresh-Onlys-Do-You-Believe-in-Destiny.mp3]

Download: The Fresh & Onlys – Do You Believe in Destiny [MP3]

Title Tracks – In Blank

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Rating: ★★★☆☆

It’s weird to say this, but John Davis finally seems to be finding his own voice, his own way.  After working with Q and Not U, he then formed up the pop-duo Georgie James, then went on to write the first Title Tracks record.  Here, on In Blank, the approach is much simpler than previous works, just giving you straight-ahead power-pop, and in doing so, he’s giving you what seems the best demonstration of himself.

A pounding drum, quick rhythmic guitar and a somewhat spoken lyric begins on “Shaking Hands,” but it’s when John’s voice actually takes on the singing depth that the song begins to take flight.  It’s an energy fueled rush that grinds to a nice sudden stop.  You’ll then take on “Turn Your Face,” a song that really represents the abilities of John, and one of the things that attracts so many to his music.  While the song has a similar, though more rugged, approach to the first track, it’s the ups-and-downs of his voice that make his tunes more than re-hash power-pop.  He finally has control of his distinctive voice with all its little flips, and this is the song where it all seems to come together in perfect pop harmony.

While the first Title Tracks record definitely had a jangling punk troubadour sound a la Ted Leo, In Blank, as previously mentioned, begins to give John a voice that he can claim is his own.  “I Can’t Hide” seems to take the best of his two latter projects and twist it all tightly in a nice little ball of good pop. Sure, there’s that straight pop-punk drumming element, but the guitar work alone begins to take on an attitude of his own.  Lyrically, he’s talking about a lady and his emotions, but the song definitely seems to represent his inability to hide his own musical ideas from the world anymore.  It’s at this point where John Davis has eclipsed all preconceived notions of himself.   More of this follows when you arrive at the next track, “Forget the Ghost.”  There seems to be a hazy little fog floating atop the song, and vocal delivery definitely begins to offer glimpses of a more developed musical palate. If you were looking for more power-fueled pop songs, then John’s here to show you he can do anything he wants, and with great success.

Of course, John’s not one to forget his roots and his early passions, bringing us that punk element in various different forms as In Blank draws to a close.  You’ve got explosive power-pop, you’ve got jangling tunes, and even a bit of pop-swagger by way of “It’s Wrong.” Closing out the record, you end up having a nice little smile upon your face, happy that John Davis has been able to continually push himself, and really happy that there are some exceptional songs throughout the latest in the Title Tracks catalogue.  Good album from a guy that keeps writing his own good story.

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

Download: Title Tracks – All Tricks [MP3]

I’m From Barcelona – Forever Today

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Rating: ★★★★☆

Honestly, I’m not sure how I’m From Barcelona works. Boasting twenty-nine members at one point in time, it seems like there must be a hierarchical system within the band, or else I don’t see how they could ever accomplish something with combining the creative genius of each member. Regardless of the inner-workings on this band, they produce catchy pop songs, despite any amount of time, or any change in membership. Forever Today is no exception.

While their last album was considered a bit of a set back for this Swedish super group, Forever Today is definitely a step back up to the fun sound that this group originally had back when they released Let Me Introduce My Friends in ’07. “Charlie Parker” begins with some classic synthesizer and those sweet and savory gang vocals that you’ve missed. From this first track, it’s evident that I’m From Barcelona has got their spunk back, and this album is going to be a restatement of that glorious energy. If the first song isn’t convincing enough for you, “Battleships,” two songs later brings some killer bass lines and the hint of handclaps, and as we know, handclaps always make for a great time. By the end of this one, you should be tapping your feet, joining together with this giant group of musicians.

One of the greatest qualities of this band is that since they have so much going on, and so many members, it feels easy to sing along and immerse yourself in the music with them, as if you are just hanging out with a bunch of friends. On “Always Spring,” another tasty pop song relies on the twinkling of some keyboard and the for-real handclaps. It’s a mixture of the energy that this band thrives on, with some serious undertones that are emphasized with the horn work pandering somewhere in the background amidst layers of other musical elements. This is perfect example of just the right amount of spirit combined with grace and elegance.

In the middle of Forever Today, it starts to feel like I’m From Barcelona are about to lapse back to their lackluster performance from the last album, but they manage to save it from that sad fate with a boost from “Come On,” which urges us to “let go” and “be free;” exactly what you would expect from this band. They finish things up with another on of those songs that mix their energy with thoughtful music with the title track, “Forever Today.”

As opposed to the all or nothing sound that we have been introduced to from this band’s first two releases, it seems that they have finally found a way to a happy medium, and it is certainly an enjoyable balance.

Federico Aubele – Berlin 13

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Rating: ★★½☆☆

How does one describe the music of Federico Aubele? When I listen to his baritone voice accompanied by sultry electronic beats, it’s easy for me to picture a younger and slightly less debonair version of the Dos Equis Most Interesting Man in the World crooning along to these sinister tracks, but perhaps that’s just me. However, there can be no denying the heaviness of Aubele’s deep voice makes this half electronic half Spanish club music stand apart from anything you’ve ever heard. Whether this is a good or a bad quality is purely up to you.

 As foreshadowed by the title, the time that Federico spent in Berlin certainly affected his music. In addition to the stronger emphasis on the electronic side of things, there is definitely a darker spin for this fourth studio album from Mr. Aubele. On the opening track “Berlin,” swirling atmospherics juxtaposed with flirty acoustic guitar greets you. Loops of echoed electronics adds flavor to the song as it grooves its way along, introducing you into the smoky club atmosphere that has been created. For an opening number, it is surely interesting in its unique sound, and provides that necessary hook for this album; it feels like you’ve been granted admission to a secret and exclusive party, with Federico Aubele as your gracious host. The next standout song comes on “Bohemian Rhapsody Dressed in Blue,” in which some flairs of tango creep their way seductively through the song. Some female vocals shadow that of the leading man at points, and their voices mix to create a strategically sloppy harmony that adds to the feeling of two people enraptured in each other.

However, this unique and special quality doesn’t last as long as one could hope for. After a few tracks of the same coy and mysterious beats, the smoke screen seems to fade away, leaving just a man and his elevator sounding music. Don’t get me wrong, I enjoy this album and its overall sound, but in the end, it gives that vibe of awkward long trips in that confined space. Each song blends together to give off that feeling of a continual loop of similar sounds. In other words, there is nothing to separate this sound from something else.    

While he does change things up towards the end with his featured lady, if anything, it takes away from the fancy façade that was built up earlier. Tracks like “Ojalá” separate from the rest of Berlin 13 would sound refreshingly smooth and delightful, but go missing amongst the culmination of groovy darkness.

Despite my comparison of this music to that heard in an elevator, in the end, Federico Aubele still manages to make you relax through his layers of electronic components combined with that of classic. Although it is not the most exciting of albums, it’s a good way to kick back after a long day’s work.

Low – C’mon

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Rating: ★★★½☆

Low has definitely been around for a while: since 1993 they have been crafting their signature slow core beats for the world to enjoy. Hailing from Duluth Minnesota, this three-part band certainly knows how to spin beautiful tales of whatever they fancy and if nine studio albums wasn’t testament enough to this, than this tenth should seal the deal.

To start things off, Low showcases their most distinctive quality right up front on “Try To Sleep.” Sounding distantly akin to that of some Mott the Hoople song, the album begins with the male/female harmonies of Alan Sparhawk and Mimi Parker. The light percussive tinkling in the background combined with the slow strumming of the thick guitars comes together to make for a killer groovy jam. Despite the predictability of this sort of sound, you can’t help but take comfort in the peaceful elegance that they create. They are able to drift from a grungier kind of sound to that of clear and compact, forming their own kind of musical genre. From the first to the second song you can see this transition fairly well. On “You See Everything,” Parker takes lead vocals, and her buttery voice just coats everything in a golden light of majesty. The song meanders its slow churning way along, with Parker putting her touch of sweetness upon the topmost layer.

For an album that doesn’t have a big change in tempo, it manages to stay interesting until the very end. “Nightingale,” the third to last track, leaps out as dark and formidable, but twists into a peaceful, but still somber lullaby-esque song. Sparhawk has this sour drawl-like quality to his voice that makes everything drenched in emotion; it’s easy to tell that this man puts a lot of himself into his music. His deep and powerful voice is similar to that of Matt Berninger from The National. Like Mr. Berninger, Sparhawk can convey maximum emotion with his minimalist style.

While C’mon does not falter in its strength, it does get a bit heavy after a while. It’s not too heavy that it would deter from further listening, rather, it grows on you. Low leaves with the feeling that this album was a long-term work that this band really strived to perfect. For a group that has been around for so long, this is true evidence of their talent and longevity and it is another great edition to their ever growing catalog of albums.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/01-Try-to-Sleep-1.mp3]

Download: Low – Try to Sleep [MP3]

C’mon is out now on Sub Pop.

Sonny and the Sunsets – Hit After Hit

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Rating: ★★★★☆

Sonny Smith likes to dabble in various things: collaborating with The Sandwitches, making up bands, and not to mention the music for his own band. While not the most complex of bands, Sonny and the Sunsets still manage to produce excellent and ever so jangly indie pop/rock that is sure to prove enjoyable for everyone.

One of this band’s greatest attributes is the shortness of each song: most of them traverse the time period of two minutes, which is perfect for this kind of music. On the first and longest song, “She Plays YoYo With My Mind,” Sonny starts things off muddily as he paints a narrative of a love that is playing tricks with his mental sanity. Soft clicking starts out the song, which is joined later by that tambourine and the classic bass. The song builds upon itself, layering simplistic element on top of simplistic element, giving the outcome of raw pop. With all of the bands that work so hard to create intricate sounds through the use many instruments, and/or electronic components, this band’s sound feels like a whiff of fresh air. I mean, I love all of those highly detailed bands, but it’s nice to have a break every once and awhile.

As I mentioned earlier, the simplicity of this band is really what makes their sound so appealing and enjoyable. With tracks like “Home and Exile,” that rely on the simple harmonization and juxtaposition of Sonny’s bitter vocals with that of him female counterpart. On this track and overall, Sonny and the Sunsets, with their janglieness being the center of their sound, sound similar to that of a much more fun and poppier Dutchess and the Duke. They explore all kinds of topics in their lyrics, from that of their teenage years, to sadness, to the feeling of being radioactive. To finish off the album, “Pretend You Care” chimes in with its surfy, angled guitars and high-pitched synth. At the end of the song, you have a lovely breakdown of more of this guitar with some matted drums. It’s that point in the album where you appreciate all that this band has done, if that point hadn’t already happened.

Like the title of the album, Sonny and the Sunsets give you song after song that makes you love them, and easily at that. Upon the first listen, I was transfigured by their perfect-for-summer, or any season, sound that transcends its simplicity. Unlike other albums that take time to love, this one is a hit right off the bat. So have a listen.

TV on the Radio – Nine Types of Light

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Rating: ★★★★☆

It’s been quite a long time since TV on the Radio released Dear Science back in 2008. While three years may or may not be considered a long time for some, it is still plenty of time for things to change, one of those things the sound of a band. As many fans know, the longer the time between releases increases anticipation and excitement for the record to release, but it also allows for some doubt to come into play: is this the band that you loved so long ago?

Nine Types of Light is both a yes and no answer to that question. When you press play on the cheekily named “Second Song,” you can’t be quite sure. Yes, everything is where it should be: the strikingly unique vocals, the textured guitars, and the occasional electronic noise. However, that furious energy that TV on the Radio brought to their last album seems to be missing. While you expect a fast and frenzied opening number, you get a well-reasoned and well-written slow burner, complete with that falsetto croon that this band is known for. For the chorus, the band brings back their traditional sound, and then lets it fall away on the verses and you can’t help but notice that this band seems to have both feet in different places, straddling that line between past and future. If anything, this combination of sounds is a great start, and is topped off by some horn work in the end.

As the album continues, it is clear that this is definitely a calmer approach to tunes than before. They chose to focus on what made songs like “Family Tree,” so wonderful on their last album; simplicity and elegance. “Killer Crane,” the longest song on the album, spans six minutes, sprawling with delicate vocals and even more delicate instrumentation. All the instruments, from the strings to banjo, all have room to breathe, and are not crowded by an overload of others.

While the first half of this album feels more meditative, the second half has that manic energy and fun that you’re used to associating with TV on the Radio. “New Cannonball Run” has those quick and sharp lyrics, while “Caffeinated Consciousness” is that number that you can always bob your head and tap your toes to.

In effect, while this band does sound fairly different at first, they bring it full circle. Their focus may be on the slower simplicity that they found, but this album is by no means a setback: it’s filled with a ton of detailed and enjoyable songs, so I suggest you take a listen.

Panda Bear – Tomboy

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Rating: ★★★½☆

If you had just entered into the alternative side of the music scene recently, and knew nothing of a little band called Animal Collective, there is still a great chance that Panda Bear would have crossed your path sooner or later. Despite being a rational fan of Animal Collective, I wanted to hate this record so bad. Something about how much it was hyped before its release just sort of irked me. However, despite my preconceived notions that had nothing to do with the actual music, I was able to overcome the intimidating enigma surrounding Tomboy to get to the electro- pop that Noah Lennox has down pat.

The first song “You Can Count On Me,” serves as a transition of worlds for the listener. With its echo-y and distorted vocals, the repetition hazes you to a certain level of detachment, so that you are in the right place mentally to enjoy the album. Thankfully, it doesn’t go on for too long, and soon you are already on “Tomboy,” the title track. Laden with buzz and grimy electronic elements, the repetitive nature of the first song is broken with the natural qualities of the second. Despite that being paradoxical, it still rings true; somehow, the inorganic elements of this sound work together so that the gravelly echoes feel more like tangible back up singers.

It is in this little detail that Panda Bear wins me over. While other kinds of electronic music seem to fall flat in their lack of empathetic qualities, Lennox has managed to fuse the impersonal to deeply reaching, all in one stroke. For instance, “Slow Motion,” feels bitter in its tone, but evolves into pocket of enticing and almost sassy sounding jams. Continuing this chunk of satisfying songs comes “Surfer’s Hymn,” which sounds just like the title describes: tropical. On this number, the background noises transition to sound like the rushing tide pushing back and forth.

The one place where this album falls short is in its overall repetition. While I understand the intentional usage on the first track, it comes up a bit too prevalently throughout Tomboy: at the end of “Slow Motion” and during “Last Night at the Jetty” (which bears similarity to “My Girls”). Too much of the same thing over and over again brings down this effort to the level of mediocrity that other bands of this genre have established. It is a good thing that this only happens a few times.

Overall, it’s about as good as you are going to get for this kind of artificiality. If someone can make emotionally reaching and evoking music from electronic machines, that is a feat in itself and should be appreciated and enjoyed.

Crystal Stilts – In Love With Oblivion

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Rating: ★★★½☆

Last time you caught Crystal Stilts, you probably remember them for a bit of angular fuzz pop, featuring Brad Hargett’s throaty vocals, haunting every inch of Alight of Night.  Then several members went on to make a bright bit of pop with Cinema Red and Blue, but now they’ve all returned to the fold.  Despite their various whereabouts, the group have constructed In Love With Oblivion, possibly the darkest mark of their short career.

Atmospherics start off the record on “Sycamore Tree,” and despite a steady bounce to the drums, thematic darkness immediately sinks into the mix, as those acid-house guitars churn the noise forward. Hargett’s vocals sound somewhere between Morrison and Curtis, an image of despair in and of itself.  Although we begin with this foreboding feeling, we’re soon thrown into a bit of ballroom glitz, were it to be thrown on the Day of the Dead.  Surely the underlying elements of pop were meant to be disguised, offering another look into Crystal Stilts‘ idea of oblivion, obscuring the clarity we’re used to with our pop.

It’s definitely refreshing to find the band experimenting a bit here, as they appear to do on “Alien Rivers.”  While you’ll find some psychedelia living on the floor of the track, the spoken word delivery tends to lead you from ghost town to ghost town, darkening your soul as you listen to In Love With Oblivion. Other bands might continue to churn out those fuzzy-scuzzy pop moments, but that ominous tone to this definitely provides listeners with an expanded understanding of the group’s efforts.  But, Crystal Stilts can’t stay away from their bread and butter for too long, as those elemental urges will finally break through on the record’s latter half.

“Half A Moon,” perhaps concocted after album artwork was chosen, pushes the emotional pace, and those organs still provide a hint that there lives a brighter moment in our future, despite how dark we find our world, or our music. You’ll find the happiest moments, musically speaking on “Flying Into the Sun,” utilizing bright guitars and a cloudily pounding guitar to push forward.  Just because Hargett sounds haunting doesn’t mean we can’t eek out a bit of happiness. Then you blast on through “Shake the Shackles,” the record’s first single, and end up finding yourself on a downward emotional spiral.  With a title like “Death is What We Live For,” it’s hard not to feel a bit down about yourself while listening here, even if the music offers you a peak at the sun as the Moon rounds the Earth. You’ll want to stomp your feet and jam, but if you listen closely to the lyrics you’ll be stomping your way to musical damnation.

Listening to In Love With Oblivion can be difficult to take in at times, as its offerings are much darker than your usual fair, if not in lyrics, then in emotional toll.  But, getting to meat and potatoes of the album is easy to do, allowing you to lift yourself in and out of that darkness, extracting the great musical moments that bounce throughout.  Admittedly, it’s possibly not the record for everyone, yet Crystal Stilts have constructed something here that will have you operating on all kinds of tangents: oblivion, darkness, pop, psychedelia, etc–and provoking music, even emotionally so, is a definite must in this day and age.

[audio:https://austintownhall.com/wp-content/uploads/2011/04/07-Shake-the-Shackles.mp3]

Download: Crystal Stilts – Shake the Shackles [MP3]

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