Tag: album review

Vivian Girls – Share the Joy

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Rating: ★★★½☆

Despite various member changes since their origin in 2007, Vivian Girls seem to know exactly who they are and what they aim to do on this album. Their simple and fun songs rely on catchiness, zest and pure lightheartedness. However, with all this focus on fluff, does Share the Joy just become a write off, or did Vivian Girls manage to do the difficult task of stuffing sunshine into a bottle?

Let me first say that this is definitely an album that grows on you. While the stark and flat vocals of Cassie Ramone can be a little difficult to listen to at first, tough through it; as the rewards near the end of the album are great; not to say that the beginning is bad, it is just a bit of much needed introduction for those who are not already in love with this band. These ladies open with “The Other Girls,” a rather long first track that begins with a little furious guitar, but for the rest of the song, the band develops a very chill mood. The muted and far away drums combining with the jangly guitars continue on their second number and single “Heard You Say.” On this number, background vocals are utilized to their full effect: the “oohhss and aahhss” dominate, but leave room for some lovely guitar riffs.

At this point, Vivian Girls have given you a good taste of their hazy pop sound, accompanied by the clichéd woe-is-me girly lyrics, but you’re still waiting for those knockout numbers. About halfway through Share the Joy, “Sixteen Ways,” fills this desire. The heavy guitar and drums allow Ramone to sink down a little in her vocals, and the deepness of the song in general lets it become one of my favorites; you can’t help but love that simple strumming and harmonization. Following this song, “Take It As It Comes,” is some girl to girl advice that could fit seamlessly in with something from the sixties. Akin to something from the past, you can practically see these three ladies waving their fingers, sassily urging to “think with your head” instead of your heart. “Light in Your Eyes” then finishes off the album with more of the group effort vocally, both harmonically and through the trade off of the lead voice. Much like the album itself, this end track begins softly, but by the end, Vivian Girls have won you over.

While this is a very fun album, it doesn’t come off as oversimplified. With summer just around the corner, most of these songs should be able to find a home blaring out your car windows, the hot sun serving as the icing on the cake to this bubbly work, or vice versa.

Something Fierce – Don’t Be So Cruel

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Rating: ★★★½☆

Since not a lot is known about Something Fierce, and by not a lot is known I mean that they don’t have a Wikipedia page, I feel like I should give you a bit of background to this group. Hailing from Houston Steven Garcia, Niki Seven and Andrew Keith have been making late 70’s era punk since 2005. In 2009, these three folks self released their second album, There Are No Answers, but Don’t Be So Cruel marks their first release with Dirtnap Records.

When the throbbing bass introduces you to Something Fierce on the first few seconds of the title track, you can instantly hear the influence of early post-punk from the late 70’s. As the song gets to its meat pretty quickly, you can see other indicators of their nostalgic sound: the guitar standing out above some gritty vocals. After the barely minute song opener comes to a close, you get to hear this bands first proper tune, “What We Need Now.” Basically a continuation of the first song, this one focuses slightly more on the lyrical aspects and delves deeper into the skill set of this group. Whereas the first track was merely an anthem and appetizer for the rest, the second track seals the listener’s interest in this power punk pop jam.

While some of the music produced with a punk label on it may be labeled as simple in the lyrics or fundamental aspects, Something Fierce certainly cannot fall into that category. Each song does not just repeat a jangly chorus too many times that you know all the words after the first listen. Instead, this group crafts well thought out and written songs that also fit in with classics of the punk world. An example of this comes on “Ghosts of Industry,” one of the longest songs on this album, on which the half falsetto vocals juxtapose with the rough and tumble guitars and those dry, airy drums. At the same time these stellar instruments all rage on, a more intricate than you would expect amount of lyrics float somewhere in the middle. While normally indiscernible lyrics are one of my biggest pet peeves, I feel like this muddy quality works for the group; it’s like leaving the best bits to be discovered after repeated listens.

Such depth is just one of the golden qualities that this album possesses, but Don’t Be So Cruel does have some drawbacks. After repeated listens, some of the tracks have the ability to run together in the mind. For some, that won’t be a real problem; you will be able to appreciate the tightness of the songs. However, to others, it could prove this album just a little too repetitive. That said, I still believe that there are some delightful numbers interspersed through this work. Who knows, maybe you’ll find yourself blasting this out of your car windows in the spring breeze.

[audio:https://austintownhall.com/wp-content/uploads/2011/04/12-Empty-Screens.mp3]

Download: Something Fierce – Empty Screens [MP3]

The Kills – Blood Pressures

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Rating: ★★★½☆

With a name like The Kills, there is a general connotation of thick, deep-set rock and roll that comes with this band. With past releases that have realized this connotation, this group consisting of merely Alison Mosshart and Jamie Hince, has methodically strummed and beat their way to the front of the indie rock music scene. With Blood Pressures, they keep on with their distorted guitars and slightly rough around the edges sound.

The first track, “Future Starts Slow,” begins with some twangy yet grunge guitar work accompanied by vocals from both members. With the drums resounding slightly higher over the top of the track at points, you can get a clear grasp of the emphasis on percussion elements in addition to that of just the guitar. As the words “You can blow what’s left of my right mind,” are doled out during the chorus, you can feel the sweet release of this band. They are just trying to make some swell tunes, and by poking fun at a failing sanity, they offer everything that’s left of their creativity to their audience to take and make their own.

Whereas their last record, Midnight Boom, was a step away from their traditional serious sound, Blood Pressures is a culmination of their grainy rock alongside lighter bits. There are the simple songs that bring lighter notes on the short “Wild Charms.” While hardly offering whimsy, it is a quick break from the thick guitars and the vixen-esque voice of Mosshart and a glimpse at a solo from Hince. Contrarily, on the very next track “DNA,” you have everything that the track before it was not; the garage rock guitars, some choppy percussion and the seductive vocals of Mosshart.

But for me, the band’s full excellence comes on “The Last Goodbye,” in the latter half of Blood Pressures. Gone is the prominent guitar and present are the comforting lullaby feeling words. With just a piano and some crackly record player sound effects, the track makes you feel as if you are in a different time, perhaps saying goodbye to a good friend, or even a lover. At this stripped down level, the basic fundamentals of this group are savory and sweet, despite the solemnity of the song.  Despite the cheese factor that it could have had on this album, I feel like it would have been much wiser to end with this track. It is such a strong track from this group that the other songs that follow just kind of get lost in the shuffle.

Regardless of track order, this is still a fairly enjoyable album. With its ups and downs, and transitions from grit to clean, The Kills have once again produced a good effort.

King Creosote & Jon Hopkins – Diamond Mine

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Rating: ★★★★☆

Earlier this year King Creosote returned with the absolutely amazing Thrawn, an album that will undoubtedly be spinning for quite some time in houses across the globe.  But, in what could be his most prolific year, King aka Kenny Anderson has teamed up with ambient producer Jon Hopkins to reform/rehash some old tunes that have been laying around the house. Together they completed Diamond Mine for Domino Records, and if anything, it just makes the return of King Creosote that more powerful, as we won’t find too many people writing such incredibly emotional songs.

The first real track on Diamond Mine is titled “John Taylor’s Month Away,” and from the minute you play it, you can tell Hopkins has aided here, as gulls echo in the far-off distance, prior to the entrance of a steady strum from Anderson, along with his magical vocals.  One could try and continuously analyze the lyrics, but there’s an emotional tug that overcomes all the meaning one can try to extract. But, it’s not nearly as touching as “Bats in the Attic.” While King Creosote definitely has the ability to win you over on his own, just light touches such as the static in the background of the piano really forces you to acknowledge Kenny’s vocal quality, which is soon matched by a female counterpart.  You’ll find a softness to the presentation that surely will fit your playlist during those emotionally trying times, or perhaps just a winter mixtape that needs a bit of grace.

One of the things to appreciate about the King Creosote & Jon Hopkins collaboration is that it seems to have allowed Mr. Anderson a bit of time to wander about, such as in the folk-ish track “Running on Fumes.”  While the musical accompaniment is understated, there’s a fragility to Anderson here that seems so sincere that it the lyrics wrap around you, drawing you into the wilderness of the song itself.  Somehow you’ll drift off, just as the song crackles a wee bit; moments such as these don’t exist too often nowadays. Juxtaposed with the quieter element is the more electronic-laden “Bubble.”  It may not be the strongest track here, production wise, but at this point, you’ll pretty much do anything to listen to the vocals over and over again, haunting you until the end of your days.

Closing out Diamond Mine are two of the record’s shorter numbers, but they seem to fulfill the promise of the more developed songs that have been completed throughout.  If you’ve made it this far, as you clearly should have, you’ll likely find yourself caught up in the gracefulness of everything King Creosote seems to touch. Compile that with the studied touch of Jon Hopkins, and you have yet another startling release from a man who can’t seem to stop winning over every single listener he encounters. Let’s just hope the string of excellent releases, such as this one, keep coming down the pipeline for some time to come. Otherwise the world will probably seem a whole lot less beautiful and serene.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/03-Bats-In-The-Attic.mp3]

Download: King Creosote & Jon Hopkins – Bats In The Attic [MP3]

Diamond Mine is out now via Domino Records.

Bill Callahan – Apocalypse

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Rating: ★★★★☆

Listening to a record from Bill Callahan can often be a daunting affair for all, as his songwriting is superb, but often overshadowed in his work by his abilities as a wordsmith.  Once you indulge in Apocalypse, it’s definitely going to be difficult to find your way out, which is precisely what makes this one of Bill’s strongest releases to date.

Kicking off the album is “Drover” and the lyric “the real people went away/I’ll find a better way someday.”  If you’re looking to unravel Bill’s meaning, especially in regards to the themes within, you’ll probably begin to think Callahan is trying to reclaim America for himself, for his types.  It’s such a beautiful idea, expressing hope amidst a country that’s possibly in decline.  Toss this in with the strumming of the guitar, the occasional string flourishes and light percussion, and surely you will recognize what a strong track this is.

“America!” doesn’t stray too far from this theme, though the discussion seems to reflect upon the great exports of our world from a man missing his homeland, though when referencing someone like David Letterman, it’s difficult to see how seriously we should take the lyrics.  The song itself uses sort of a carnivalesque stomp and some cascading guitar solos to move everything along, all the way to cacophonous end.  It’s odd, as it leads right into the softer “Universal Applicant,” a track that utilizes a hint of flute beneath a shaker of sorts, yet this isn’t the entire story of the track.  A light-hearted guitar chord takes over a few minutes in, with some extremely minimal drumming, providing the track with a bit of an emotional boost, while Callahan sort of walks his lyrics through the rest of the number.

After so many spins, it’s hard not to fall in the love with the latter-half of this album, one of the strongest statements of Bill’s career, in one man’s mind.  “Riding for the Feeling” sort of hovers over the guitar work, clinging to gentle stringing and some careful arrangements that bring the story of Bill’s world in the Apocalypse to life.  It’s pointless to influence you with thoughts on emotional meaning, as each listener will surely bring their own interpretation to the table, but regardless, you’ll want to play this song again and again. Then skip ahead to “One Fine Morning,” nearly 9 minutes of Bill Callahan writing at his best.  Heading out on his journey, Bill seems to be looking over the landscape of America just as much as he’s looking back over his life.  Amidst the quiet dance of guitar strumming and piano, he seems to realize that he, like us all, has to confront “the hardest part,” hoping that when it all comes to an end, there will be a little sun left on the horizon.  It wraps up a wonderful album, by wrapping up a wonderful track.

“One Fine Morning” serves as the final statement here on Apocalypse, and while the record might slowly fade into the background, you’ll reach over and immediately play it all over again.  Slower pacing seems to suit Bill Callahan, his voice especially, allowing him to give us an honest account of his thoughts in a way only he can pull off.  Nothing more needs to be said; it’s just an endearing listen from start to finish.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/Bill-Callahan-Babys-Breath.mp3]

Download: Bill Callahan – Baby’s Breath [MP3]

Apocalypse is out on Drag City on 4/5.

The Mountain Goats – All Eternals Deck

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Rating: ★★★★☆

For years, The Mountain Goats have been wooing you with their cryptic and lyrical masterpiece songs that are poetry set to various tunes. You’ve fallen in love with their endlessly complex yet simple bank of songs that just keeps on getting bigger. So I’ll save you the introduction to a band that has already made itself a staple in a whole lot of hearts, and I’ll get to the review.

Much of this review and the perception of All Eternals Deck is determined by your current state of affairs with this band. If you like the Mountain Goats already, then this album will be just another reaffirmation of your love for them. If you don’t like the Mountain Goats already, this should be a step in the right direction towards your newfound affection towards them. If you hate them already, stop reading this.

As I’ve mentioned, this album is just another great addition to the overwhelmingly large catalog of songs that this group has already produced. From the first song “Damn These Vampires” begins with the familiar half spoken-half sang vocals of John Darnielle, who never fails to impress me with his delivery. A brilliant voice he has not, Darnielle still manages to convey the raw emotion that is needed for poetry. Despite the title, the first song comes off as an empathetic and encouraging tune for an unknown protagonist. As the tale is spun, you feel encompassed in the lyrics of this band and it’s as if you have been transported into the world of fiction of the Mountain Goats; a place where you will remain for the duration of this album.

Like a great novel, the songs that make up this release all wrap you in their cloak of deception at first, but after some thought, the words begin to make sense and add up to something that cherishable. Early tracks like “Age of Kings” draw you into their cryptic world, with dramatic strings chipping away at the underlying belly of the song. Other works like “High Hawk Season,” incorporate “ohs,” “ahhs,” and harmonies in the chorus from a juxtaposed deep voice that takes some of the nasal from Darnielle. The songs work together to lead you to areas that you never thought a song could, potentially becoming a new favorite work of fiction.

Overall, it’s a really well written work from this group. It warrants many listens trying to decipher just what those words mean. More importantly, what they mean to you as the humble listener.

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

Download: The Mountain Goats – Damn These Vampires

Craft Spells – Idle Labor

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Rating: ★★★½☆

It’s not that Craft Spells are necessarily a new band, nor are they one bringing you anything particularly new in the way of bedroom pop, but that isn’t going to devalue their version, or your likelihood of unlimited enjoyment.  Captured Tracks has just released the group’s record, Idle Labor, and like similar artists coming off the label, it’s chock full of shaking percussion and darkly tinged lyrical affectation, leaving listeners spinning about their bedrooms or dingy clubs, whatever works.

One of the first winners from Idle Labor is going to be “You Should Close the Door,” which has a hint of jangle to the guitar work, though it leans more towards a certain lo-fi affinity along coastal regions.  The bright hues of the chords are juxtaposed with the baritone vocals of JP Vallesteros, providing a haunting effect for those with their ears tuned in closely.  But, while the guitars play an underlying role in the sound of Craft Spells, it’s the percussive element that definitely influences the band and fans alike.

“Your Tomb” really has a steady pacing to its drumming, which gives a pleasurable pace to a track that otherwise appears quiet.  Gentle touches of percussion dictated the movement in your feet, and you’ll know after a couple of spins precisely what I’m talking about here, as your feet will grow weary.  Okay, perhaps the sharply ornate guitar sound coming from tracks such as “After the Moment,” probably contradict the idea that guitar sounds are meant to service the drumming here, but that’s precisely what seems to make Idle Labor ultimately successful.  You’re enjoying the groove of it all, then comes a track that encourages the swaying of hips and possible twee two-stepping on the dance floor.

However, it’s not all pseudo-angular dance moments, as there’s definitely a subtle new-wave vibe you’ll find featured in various tracks.  “Given the Time” begins with a darker intro than almost all the other tracks, yet it quickly picks back up into the 80s vibe of swirling melodies surrounded by somewhat monotone vocal displays.  Sure, you can probably do a nice stomp of the boot if you’re sticking to the bass groove on the track, but it definitely has an underlying pop element that’s buried, more so than on other tracks. “Party Talk” has the same mannerisms, once you consider some programmed percussive elements being added here, which don’t dominate Idle Labor, as much as one might think, not noticeably at least.  It also features a great deal of experimentation, when you compare it to some of the more minimalist songs.

It’s easy to say that Craft Spells have crafted (see what I did there) another bedroom gem for Captured Tracks, but the more you involve yourself in a close listening process, the more other elements slowly begin to leak out, making this more than just a casual listen for fans of the style.  Idle Labor, while stylistically similar to other acts on the label, and in the scene in general, eventually moves itself out from beneath its peers, leaving you with a deeply personal listen that’s fitting for play at home, at the office or at the club…what a trifecta of pop magic.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/After-the-Moment-1.mp3]

Download: Craft Spells -After the Moment [MP3]

Brown Recluse – Evening Tapestry

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Rating: ★★½☆☆

Despite the creepy implications of their name, Brown Recluse is far from such dark arachnid qualities in their music. Instead they rely on pop, and at that, psychedelic pop laden with airy vocals and crisp instruments. Ironically, many happy and jubilant sounds are produced from this band on Evening Tapestry.

Starting off with “Hobble To Your Tomb,” Brown Recluse begins on a high note. As one of the more interesting numbers on this album, it serves its pertinent job of making me want to see where this band is going to go for the rest of the album. It builds gradually, with short spurts of organ-like synth, and stop and go styling. The horn work at the end creates such promise. Seriously who doesn’t love horn work? However, the song doesn’t really go anywhere; much like the rest of the songs as a whole.

 While this album is chalk full of groovy pop tunes, it just won’t make the transition between good and great to me. Perhaps it is the blandness of the lead vocals; they suit the music, but at the same time there isn’t that disparity that allows for some noticeable separation of instruments and singing. It doesn’t command your attention, but lets you wander a little ways off, and it’s easy to get distracted from the tunes that are brightly playing away. The same goes for the shortness in each of the songs, which, sadly, but inevitably causes them all to sound similar.

Despite it’s one-note-nature, Evening Tapestry still has its moments. Such moments occur on numbers like “Impressions of a City Morning,” that starts with some quick, yet soft drums, and follows with the jingle-jangle of a tambourine. At some points during this number, I get the feeling of some old Belle and Sebastian song, chalked full of that story-telling diction and delicate vocal qualities that Stuart Murdoch does so well. Another stand out comes on “Monday Moon,” that relies on jangly guitars and the slight wail of some funky synthesizer to spin a poppy tune.

To be honest, most of the songs on this album are likable; there just isn’t enough variety in general to warrant excellence or even longevity. As I listen to this over and over, I just can’t latch onto hardly any of the songs. They run their course and then are done, becoming forgettable. Instead of falling in love with Brown Recluse, I feel more so like being their friend; I’m not quite ready to spend all my time with them, but hanging out every once and a while could be alright.

Evening Tapestry is out now on Slumberland Records.

Those Darlins – Screws Get Loose

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Rating: ★★★★☆

Despite releasing an album back in 2009, Those Darlins are still a band that has been flying under the radar. However, I don’t see them staying in that predicament for long after this work catches fire.

If the album art wasn’t enough of a clue, the instant you press play on this album, it’s clear that this is a playful, blunt, edgy and full out rock and roll fest. “Screws Get Loose,” the title and opening track is probably the best song that you’ll come across when things are all said and done. While normally it’s not necessarily a good sign for the best song to come first, it doesn’t hurt Those Darlins because all of the songs are decent. Its appeal begins with the jangle of the opening procession and continues to the classic garage punk sound. The grit of the feminine lead vocals is perfect in that it doesn’t fall into the sugary category that everyone else seems to be going for these days.

These punk vocals are also vital in convincing listeners that all the female narrator wants to do is “Be Your Bro” on the second number from Those Darlins. On this track, this band establishes themselves as people who could very well be your friends. Their songwriting (not just on this song) is simple and relatable; since it’s easy to discern what the band is discussing it quickly becomes like an inside joke between you and them. However, their lyrics aren’t oversimplified, they still manage to cover a wide variety of topics, from only wanting to be friends with a desiring male, “Be Your Bro,” to discussing and giving a testament about the evils of money, “$.”

The same can be said for the sound of the group; it goes a variety of places while still staying under the giant umbrella of garage, be it the pop, rock or punk variety. On “Let U Down,” there is a poppy vibe in the beginning that carries through the 70’s guitar riffs spliced though the tune. Later on comes “Tina Said,” whose guttural guitars and bobbing bass lines twist it to a darker, yet still jamming beat. “Fatty Needs a Fix” is a start to finish punk race that is molded by its quick-witted words and precision drumming, but don’t forget to stick around for Dutchess & the Duke—esque “Waste Away.” Such diversity will allow Those Darlins to bridge the gap between forgettable and kick ass.

At the end of Screws Get Loose, there is a bit of silence and then a guitar solo layered upon the melody of the first song, prompting you to go back to the beginning and start again. As the band intended, I suggest you do the same; this will surely be an album that you will play over and over.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/Those-Darlins-Screws-Get-Loose.mp3]

Download: Those Darlins – Screws Get Loose [MP3]

Hunx and His Punx – Too Young To Be In Love

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Rating: ★★★★½

It’s a shame that people tend to associate Hunx and His Punx with some sort of gay punk movement, though he doesn’t do much to do distinguish himself from that image.  However, Too Young To Be in Love is probably one of the most enjoyable releases that should be on everyone’s radar, yet somehow it still seems to be sort of a small blip. Shame on us, as I haven’t had this much fun listening to a record in some time, not to mention the fact that it was produced by one of the Voidoids!

When you jump into “Lovers Lane,” you better be ready to grab a hold of the nearest person to you, swing them in your arms, and spin spin spin.  Hunx has that spoken word delivery you’ve heard from the 50s soundtracks of your parents, then you add in the gentle growl of Shannon Shaw of Shannon and the Clams; you’ll want to play this track at your next barbecue.  And it just walks right into “Hes Coming Back,” which has a similar appeal, but here you’re going to have a bit more of a stomp going on, as the groovy drumming definitely has the toes a tapping.

Perhaps there is an innocent nostalgia in everything Hunx and His Punx does, but that’s precisely why we’re all going to have so much fun listening to this record this year.  Listening to the title track, “Too Young To Be in Love,” you have the absolutely perfect song to close out the night, if your night happens to be some giant hipster-laden prom-type affair.  These are songs where you can roll your window down and tap your fingers to the rhythm on your steering wheel, or perhaps you’d rather just have nice gentle dance around the living room with your significant other while dinner cooks on the stove.  Everything you’ll find on Too Young To Be in Love is full of vibrant tracks that warm your heart, and it would probably do the same for your parents, not to mention their parents.

If you’re looking for faster paced songs, you’re likely to find what your looking for on the latter half of the album, in so far as Hunx can only speed it up so much.  Tracks like “Bad Boy” and “Tonite Tonite” definitely have a more forceful approach to the sheer joy of this record, though there’s an ability to slow it down amidst a heavier footed drummer. As these songs jangle and Shannon adds oohs and ahhs in the background, you’re caught up all over again.  It’s hard, however, to even differentiate these songs from those on the earlier half of the LP, as the whole thing sounds so cohesive, so well put together.

It’s hard to really say who will fall in love with this record, though Hunx and His Punx clearly have made one of the most enjoyable releases of the year.  Perhaps Too Young To Be In Love will get overshadowed as too nostalgic for its own good, or too this or too that.  But, one thing is for sure, you’re not likely to find so many catchy songs lined in a row that are going to make you fell young and innocent all over again, or keep you feeling young if that’s the case. I don’t know, but if this is the gay punk movement, I think it’s time I join.

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

Download: Hunx and His Punx – Lovers Lane [MP3]

The album is out now on Hardly Art. Hunx comes to Austin on 4/12 at Emos.

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