Tag: album review

The Coathangers – Suck My Shirt

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The-Coathangers-Suck-My-Shirt-608x608Rating: ★★★★★

Honestly, I didn’t expect this from the Coathangers.  The group’s always been a blast to jam to, but in no way did I expect these ladies to offer up such a complete record as Suck My Shirt.  Four albums into their career and this is far away their best record, and for what it’s worth, the best thing I’ve wrapped my ears around.

From the opening moments of Suck My Shirt, the album offers a bit of gritty rock n’ roll that’s juxtaposed perfectly with tiny bits of pop.  “Follow Me” features drummer Stephanie on vocal duties, offering her gruff rasp over a precision drum beat.  But, the simple entrance of “whoas” in support give that catchy touch that makes the group so endearing at the moment. Personally, I love the way Stephanie’s vocals battle back and forth with her counterpart, Julia Kugel.  Take, for instance, “Adderall,” which pops up later on in the album.  The vocals are strained while the guitar work slides up and down the scales.  It would seem like the drummer has the key with her performance, but then Kugel slides in with just a the slightest yelp of “yeah” or “what” during the chorus; it completely takes a good song to the next level.

But, one thing remains the same with this modern version of The Coathangers: the ladies still bring bubbly fun to their tunes.  Sure, there’s a dark edged propulsive rhythm on “Springfield Cannonball,” but as the cymbal crashes and the guitar knifes through like a siren there’s still an element of frivolity to what they’re doing.  They’ll even get you bouncing and moving when you go ahead to the next track, “Merry Go Round.”  High-hat work coordinating with the way the guitar’s played would be enough to get you tapping your toes, but the vocals are both bratty and driven by an inherent hook.  Just imagine yourself rocking to a surf-pop act, only this time it’s fueled by ladies with a sinister sense of humor and fun.

Still, it’s not all pop spun on a knife’s tip; there are some generally sweet songs lurking throughout.  For one, you can take the quieted effort on “Zombie,” which has one of the most gentle vocal displays the band has to offer.  Even when they jump the pace up a bit, there’s an element of enchantment coming through your speakers. It works well with a song like “I Wait,” that offers almost a jazzy crooner feel to it, though done in the vein of an evil temptress.  It’s just a sign that the group has it all at the moment.

I’m not generally one to fawn too much over a record, but I don’t know why anyone would have anything negative to say about Suck My Shirt.  It’s playful in all the right spots, yet filled with ballsy rock n’ roll moments that will please any listener. For what it’s worth, The Coathangers have been building toward this for a long time, but it feels like this is the culmination of all their hard work coming together perfectly. I dare you to disagree.

Warm Soda – Young Reckless Hearts

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warmsodaRating: ★★★★½

When a musician steps away from a well-followed act, it’s difficult to say where things will end up.  But, in the case of ex-Bare Wires member, Matthew Melton, his move to form Warm Soda seems to be paying off immensely.  The band’s first album, Someone for You was spot-on power-pop, and Young Reckless Hearts picks up where that album left off, smoothing out the edges towards perfection.

“Going in Circles” starts the album off, indicating that while the riffs still maintain their crunchy edge, they might be polished up just a bit. The track offers a smoother delivery than previous Warm Soda tunes, though it still has that powerful driving rhythm prompted by the pounding drums.  Then you’ll move right into “Postcards,” which employs more of an angular guitar cut.  Personally, I love the way that Melton moves in and out of different vocal ranges within this number. You can then push forward to the record’s title track, “Young Reckless Hearts,” featuring a guitar part that our parents would have happily air-strummed at their favorite arena-rock show. However, there’s still an intimacy with what Melton and his cohorts are crafting; there’s an inherent warmth to the way vocals are delivered and how the pieces all fit together.

Honestly, the greatest thing about listening to Young Reckless Hearts is that you’re not going to find a single track that you’ll want to skip over, even though we’re all guaranteed to find our own favorites.  My last few rounds I’ve really been enjoying “When Your Eyes Meet Mine.”  It has a call-and-response backing vocal that really adds some pop-sensibility (as if much more was needed) to the song; it also has Melton working with my favorite vocal inflection. “Things That We Said” is also another winner, in my book.  If you jumped into the track just prior to the 1 minute mark, you’ll hear exactly why I love this tune; there’s this swirling pop sensation that’s crafted by multi-part vocal harmonizing backed by a twangy guitar sound.  Just don’t think that the group can’t still deliver a killer punch amidst all this shimmering pop.

The closing tune, “Stranger to Me,” is one of the songs on the record that’s most reminiscent of the band’s earlier works.  The sound of the guitars is much more forceful, providing a nice discordant ring through your speakers. You’ll also find it filled with lots of guitar solos allowing for the band to demonstrate some of their fine musicianship; it even includes a nice little jam session before pushing forward to wrap up the track with a final explosion of glittery garage goodness.

You’re going to find it hard to dismiss Warm Soda nowadays.  There lives shows have garnered huge responses, and it seems like the hits from this group just keep on coming.  Young Reckless Hearts is a record you’ll enjoy at full volume, making it perfect for your entrance into Spring…or you’ll just be glad these guys released another batch of kick ass songs.  Either way, I’m happy.

[audio:https://austintownhall.com/wp-content/uploads/2014/03/07-When-Your-Eyes-Meet-Mine.mp3]

 

 

Each Other – Being Elastic

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eachRating: ★★★½☆

It seems over the last few years that a great deal of the bands I’ve taken a liking to have put less emphasis on the meaning behind the title of their completed works.  I can’t, however, say that about Each Other.  Their newest effort, Being Elastic, fits entirely in line with what one might think when reflecting upon the album’s name; it stretches all over the place musically.

“About the Crowd” begins with this fuzzy bass line lurking beneath the vocals.  The pacing seems like a mild stutter-step, until you reach the 1.5 minute park, where the guitars begin to chime in with more of a euphoric circle pit direction that perfectly meets the vocals.  From here Being Elastic moves into the more post-punk driven “Send Your Signals,” which is driven by the tight percussive quality and angular musicianship.  At times, the band slows things down to a more drawn out tempo, finishing off the track with this soaring pop vocal that’s indicative of the band’s efforts to move all over the place within their tracks.

Throughout the listen, Each Other moves in and out of varying genres.  “You or Any Other Thing” is one of those tracks that encapsulates precisely why the group’s so intoxicating.  The tune drifts in with dreamy folk harmony, but at various points, things are flipped upside down as the song takes an approach that seems like the obvious clash of influences like Q and Not U and The Wrens.  To me, it seems like the perfect way to make a nod to past greats, while still showing a progressive attitude in the songwriting. It seems like an easy enough formula for success, but I like how the group is capable is switching the approach, as they do on “Fine Time.” This number has a softer opening moment, then it jumps off into a jangling romp that is bound to pick up the spirits of listeners.

You do have to be careful where you skip around on Being Elastic, as you’re likely to get the wrong impression if you land on certain tracks.  “Seeing Doubles Dreaming Troubles” is dominated by an upbeat chugging that only slows down long enough to suck the audience in before bounding off in an enjoyable fashion.  It’s a complete juxtaposition to tracks like “The Trick You Gave Up” or “Or Else,” both which rely upon an extremely mellow mood to deliver their message.  Your best bet is just to enjoy the diversity from start to finish.

And there you have it folks; you have a record that’s as diverse a listen, sonically, as the name would imply.  Being Elastic offers a glimpse into the life of a band that’s not sold on one dynamic, and in taking that in stride, Each Other have released an album that demonstrates the vitality that comes with maximized creativity.

[audio:https://austintownhall.com/wp-content/uploads/2014/02/08-Your-Ceiling-is-My-Floor.mp3]

Download: Each Other – Your Ceiling is My Floor [MP3]

Greg Ashley – Another Generation of Slaves

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ashley-lpRating: ★★★★½

The past few weeks I’ve been listening to Another Generation of Slaves pretty non-stop.  When it came down to the arbitrary rating system, I wavered between a 4 and a 5, then settled on the now visible 4.5. While those numbers may mean little, all I can say as I write is that Greg Ashley has left us with a record that, at this point, is the best collection of songs I’ve heard this year.

“East Texas Plain” is a brilliantly solemn ballad.  It opens with a barroom piano while some understated percussion provides the perfect accent to Greg Ashley’s voice.  There’s something that goes into his vocal delivery that offers a familiarity to it; I keep thinking that he’s a more palatable Richard Hawley.  I particularly like how there’s just a little buzz in the recording too, providing some authenticity to what lays within.  Yet, Ashley doesn’t want to create something that weighs you down with one simple style.  “Brother Raymond” is a bluesy offering that brings a little bit of a rock n’ roll swagger to his creation.  It’s the perfect placement too…giving a bit of energy before bringing you to the best track.

It’s not that Another Generation of Slaves peaks entirely early, but I cannot get “Awkward Affections” out of my head.  There’s not too much to the actually lyrical content, but there’s a huge emotional pull going on inside.  Perhaps it’s the repeated séance of “you make me feel like shit/I wanna kill myself.”  If you’re looking for a song that begs to be played again and again, you should find a way to get your hands on this number.  However, the early tracks, like the three above all fall under 4 minutes, while it seems Greg saved his more laborious tracks for the latter half of the record.

The last few tracks on this record are all over 5 minutes, with my personal favorite being “Prisoner #1131267.” I love the piano work on this track; it sounds like there’s some classical training here, but at the same time, the way it’s used makes it seem like it’s just about to go out of tune; it buzzes and hums in your speakers.  It’s songs like these, which is pretty much every track, where you can hear an artist putting every bit on the line, musically.  Sure, Ashley might sound subdued at times, but other moments exist where he’s just belting out the notes, maximizing his passion.

I can’t really explain how much I love listening to Another Generation of Slaves.  There are songs that sound like cowboy piano ballads, then there are others with horns to jazz things up a bit.  There’s no telling which way Greg Ashley is going to take you on this listen, but I can assure you that no matter which way he goes, you’re not going to be let down one bit.

[audio:https://austintownhall.com/wp-content/uploads/2014/02/03-Awkward-Affections.mp3]

Flagland – Love Hard

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flaglandRating: ★★★☆☆

When you first look at Flagland‘s new record, you’re probably going to find it a bit daunting; it’s 20 songs, which for some might be a lot, but don’t let that deter you.  Love Hard deserves your listening ears.  The listen is all over the place, but while that might be tiresome to a few, it actually makes the entire journey quite fun.

“Superlove” casually opens the adventure with a strummed guitar and calming vocal, before the rough edges start to shine a little bit.  Those gritty bits make their way as the opening to “Searchers,” but stick around for the pounding drum and maneuvering bass line that leads the way for a nice bit of distorted guitar work.  While the rhythm bounces along there’s some stuttering vocals to clear the way for the knifing guitar bits. Then you’re jumped into a fast-paced rocker via “Swingin,” which resembles a quickened Southern garage tune. But, Flagland slows things down for a bit.

“Happiness” is more of a pop song disguised as an anthemic guitar tune.  There’s a touch of frailty to the vocal performance, and to show they don’t mind being their own act, they even toss in some space-age samples.  The tune hops a long to catch little end. Then you’re quickly given another slow burner via “Not a Joke.”  It sounds like a catchy garage demo, but I mean that in a good way.  Personally, I’d skip a song or two and find yourself at one of the stand outs of Love Hard, “Monster.”  There’s a familiarity to this track, though I can’t quite put my finger on it (early Liars may haps). Regardless, it’s a pummeling tune that definitely provides your angst with an outlet.

You see, Flagland doesn’t stay in one place for long, and while I admit that I know that’s troubling for listeners, it’s made the listens enjoyable because you’re not inundated with a monotonous style.  One of my favorite tracks as you move to the latter half of the record is “Sugarcube.” It blurs the lines between pop-punk and power-pop, catchy in every sense of the word. It goes along well with “It’s Your Time,” which might be the best song that J Mascis forgot to write.  Vocals are pleasant while the distorted guitars have a heavier tonal quality; the last time I played the record, it was my favorite jam of that round.

It’s refreshing to come across a record like Love Hard.  Sometimes you get bogged down with one sound or one sonic direction from a band, but Flagland aim to keep things interesting.  They add snippets and quick songs to keep the pace of the record moving forward, then fleshing out your listen with longer numbers.  If you’re tired of the same old thing, then you’ll want to pick up this album.

[audio:https://austintownhall.com/wp-content/uploads/2014/02/12-Sugarcube.mp3]

Download: Flgland – Sugarcube [MP3]

 

She Sir – Go Guitars

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LIFE105_Cover480Rating: ★★★★☆

While they’ve been working at crafting their owned dreamy indiepop for some time, the boys in She Sir have largely gone unnoticed.  But, good things come to those who wait, with the group putting together their most confident record to date, Go Guitars (Shelflife Records). There’s not a bad song on the record, and listeners will surely find several of the tracks more than memorable.

“Portese” sets the tone early, with a guitar that has angular intentions ringing immediately in the foreground, while a dreamier chord cascades in the distance.  Russell’s Karloff has this whispering gentleness to it that creates the emotional pull for the listener; his performance on this track is purposefully understated, giving you more of a feel from the song’s craftsmanship.  Then you’re off into the beautiful world of “Kissing Can Wait,” a track where the vocals are surely the winner in the tune; they playfully move in line with the progression of the bass and drums, molding the song into an upbeat number that leaves your spirit lifted.

Other songs offer more of a dream-pop style on Go Guitars, such as the album’s first single, “Condesendidents.” Karloff’s voice has this soft quality that seemingly rests in the background of the track.  Personally, I like how the group breaks out into a relaxed pop jam near the end of the track (about 1.5 minutes); it’s a special moment on the record that illustrates She Sir have decided to go in whatever direction they see fit. And, you can’t cruise through the record without taking on “Snakedom;” this is the best song that’s not on Captured Tracks.  There’s a lively beat going on in the background, while the guitars work against each other to create a swirl of blissful pop.

Honestly, those were the things I expected from the band.  What I didn’t expect were songs like “Bitter Bazaar.”  It starts innocently enough with a lightly strummed guitar line, but the steady vocal opening prepares you for the song’s driving intentions.  It sets the scene for a track that appears reserved, though your short wait will see the band pushing the pace and spinning bright guitars twirling around your ears.  This is by far one of my tracks the band has left us with, so be sure to give it your undivided attention.

While some bands might get caught up in adding too much to their music, the one thing that stands out in Go Guitars is that the band isn’t trying to do too much, musically.  They know what they’re doing, and they’re going to offer listeners the perfect version of that sound.  She Sir will leave you with a listen that merely asks for you take it all in and let the warmth of the indiepop deliciousness take care of the rest; your listen will be better off for it.

 

New Bums – Voices In a Rented Room

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new bumsRating: ★★★☆☆

Sitting in my room by the lamp light seems like a fitting way to listen to the new release from New Bums, though this room is paid for.  Going from song to song, Voices In a Rented Room is an album that truly fits best when you’re wrapped up in your own solitude, letting the tracks wash over you.  But, with that in mind, it’s also one of the things that might wear on the listener.

“Black Bough” is one of the best slow jams I’ve heard in a really long time; it deserves to make it onto any playlist you create. I love the way the vocals were recorded, seemingly entering your ears on the cusp of the wind. There’s a heavy-heart that arrives too via the solemn strumming of the guitar; it helps establish the forlorn characteristics that accompany the track throughout.  Moving forward into “Pigeon Town” you find more of the ornate guitar play that is associated with Ben Chasny and his earlier work with Six Organs of Admittance. But, while both these songs are carefully structured, including the string touches on the latter tune, it’s easy to see yourself getting stuck in the same listening space; there’s not a lot of movement sonically in Voices In a Rented Room.

For an audience new to the writing of these two, I think there’s several songs that you’ll find special.  I can’t tell if it’s the recording itself, but I love the sincerity that’s present in a track like “Mother’s Favorite Hated Son.” If you listen closely, you’ll hear a bit of a buzz coming through your speaker as the deeper notes are struck; it reminds me of listening to a record I’ve listened to far too many times, worn out by the needle. That same slight buzz is present on “It’s the Way,” but the vocals are definitely what attracted me to this number.  I love how the higher pitch in the vocal is matched by a slight string touch; it’s ever so gentle, but it adds the perfect listening sensation.

Therein lays both the strengths and weaknesses of going through this release from New Bums.  Every song seems to have purpose, and with that comes a great attention to each little detail, each shift in pitch.  Those artists’ brushstrokes give each track a redeemable quality, but it does make it hard for a passerby to fully grasp what is beneath the surface.  It’s not something you can rest with in the background, but a piece you have to immerse yourself into, maximizing your relationship between the emotional pull and the band’s intentions. If you’re willing to dig deep, you’ll find a great bit of happiness in hearing Voices In a Rented Room.

[audio:https://austintownhall.com/wp-content/uploads/2014/02/01_Black_Bough.mp3]

Download: New Bums – Black Bough [MP3]

Angel Olsen – Burn Your Fire for No Witness

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angelolsenRating: ★★★★☆

One of the things that I’m always fearful of when listening to a musician working under their own name is that the music will have a tendency to get stuck in one space; it can make for a boring listen, despite your initial interest.  Luckily, that’s not how the story of Burn Your Fire for No Witness unfolds; Angel Olsen and her band have constructed a record that holds enough diversity to keep you guessing at every track.

“Unfucktheworld” had me immediately.  There’s an intimacy of the strummed guitar that’s striking, but even more appealing is how the recording still holds a bit of the buzz and crackle; it creates a sense of sincerity that one hopes for from a singer-songwriter.  But, she doesn’t stay there for too long, moving quickly into her best rock version with “Forgiven/Forgotten.”  It’s a sound that purifies the space between Vivian Girls and Screaming Females, and it serves Burn Your Fire for No Witness well by adding some movement within the album’s first moments.

For my two cents, if you’re asking, I appreciate the songs where Angel Olsen has her voice hiding just below the main mix.  “Dance Slow Decades” is one such song, allowing for the listener to attend to every minor detail for the first minute or so, just before the vocal explodes with a hollow drum beat emphasizing the emotional touch.  It’s a stark contrast to the following track “Enemy,” which creeps me out in an odd manner; it seems like Olsen is sitting next to me singing into my ear.  Although there’s still that quiver in her voice that comes with personal expression, I prefer to keep a bit more distance, playing the role of musical voyeur.

Still, the best part of the record is the diversity that goes into every track, even into the length of the songs.  As times, Angel has this sultry troubadour quality like in her performance on “High and Wild,” but she can still manage to have this pristine vocal quality on display; she does this remarkably well in the album closer, “Windows.”  These things seem like minor details, but they make the album something that exists beyond the confines of a single track, begging you to sit with it for the entirety of your listen…this is a rare feat nowadays.

When you’re finished listening to Angel Olsen‘s new album, you’re going to find that you’ll have to go back and listen again.  It’s an album that holds no great single, but rather unfolds as an undeniably wonderful listen from start to finish.  It’s easy to find an artist losing themselves and their listeners in one place while crafting a record, but that’s the opposite of what you’ll find while listening to Burn Your Fire for No Witness. 

[audio:https://austintownhall.com/wp-content/uploads/2014/02/02-Forgiven_Forgotten.mp3]

Download: Angel Olsen – Forgiven/Forgotten [MP3]

 

 

Delay Trees – Readymade

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delay-trees-readymadeRating: ★★★★☆

When listening to the new effort from Delay Trees, their second effort for Soliti Music, the Finnish band are prepared to take you on a carefully constructed journey through their musical world. It’s often a cold and sterile world, but it offers an undercurrent of melody that eventually finds its way into your listening heart.

Readymade begins with an introductory piece of instrumentation, carefully placed as the opening moment to your journey with the band. From here, you fall into the realm of “Fireworks,” which utilize a circling guitar line that creates an ominous tune.  While the mood crosses into a bleak arena, the natural warmth that’s left by the melody will find listeners stirring in their seats, drawn into the emotional nature of the track.  These Finnish boys will soon move into a post-rock world of angular guitar chords and a brooding bass line with “Steady.”  Here, the work of the group seems less focused on the development of the vocals, instead allowing the listener to be immersed in the land created by Delay Trees.

But, while the group does seem to have the map planned out for your listening experience, they also have a few tracks that really rise above the rest of the record.  “Sister” is a calming track, sitting near the front end of the album; its pacing is rather slow, yet the vocal delivery is what you’ve got to focus on here.  It draws you in close, coming across as a faint whisper in the stark environment crafted by the group; I’m particularly fond of the way the pitch rises ever so carefully.  Then, of course, there’s the lead single, “Perfect Heartache.” You’ll find that the guitar parts really win out on this number, ringing at the beginning, then being fleshed out into softened distortion. There’s even a bit of swing created around the 2.30 minute mark, with “oohs” and a twanging guitar bit.  You’d be remiss to skip out on this song. Following it up with “Howl” provides a nice emotional switch too.  This track really has a brighter vocal quality that indicates the wide array of touches the band have put forth in crafting the record.

I loved the work of Delay Trees with their record, Doze, but I feel like this album is leaps and bounds above the former.  Each song offers the listener something, and each one has its own identity, yet they’re all tightly wound together to create a cohesive listen.  A writer could write about each track, and a listener could rave about each individual song.  All these things lead to a rewarding sit down that will encourage fans to come back to Readymade again and again.

[audio:https://austintownhall.com/wp-content/uploads/2013/11/06-Perfect-Heartache.mp3]

Download: Delay Trees – Perfect Heartache [MP3]

Temples – Sun Structures

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temlesRating: ★★★★☆

The opening moments of Sun Structures will set the definitive tone for Temples, immediately making a nod to the storied past of psychedelic music. But, while that genre has gradually grown stale, this record still illustrates that there are a few gems left to be eked out of the staple sound.

When I put on “Shelter Song,” my ears recoiled a bit; that guitar sound needs to be retired for a bit.  But, as the song unfolds there’s some great harmonized pop moments unleashed on the listener.  It’s done in a casual fashion too, illustrating the reserved cool that permeates through every inch of Sun Structures.  And it doesn’t take too long for the record to move into one of its many hits, “Sun Structures.”  This song, like the album, takes its time to build you up; my favorite thing about these collection of songs is that they come to you slow and relaxed, as if the band expected you to really indulge in the listening experience.

And while I’ve clearly lumped Temples into a corner, there are songs that demonstrate that the band have one foot in the past and one stepping into a new realm.  The one-two punch of “Keep in the Dark” and “Mesmerise” provide some energetic spins on the genre.  The former opens with a light-hearted stomp that includes a bit of fuzzed out riffs near the end; there’s also this explosive beauty that bursts forth through the lyrics.  The latter track is all pop.  It’s tucked nicely in a warm cocoon of psychedelic vibes, but it’s the perfect place for such a track, giving you a bit of palate cleanser to allow you to digest the rest of this listen.

What has amazed me most about listening to Sun Structures is that despite the length of the songs, they never wear you down.  Even on a song like “Sand Dance,” there’s so much to offer aside from what you’re initially being offered.  On this tune you’ll find a very classic psych sound, but then there’s this spaced out jam that unfolds to close out the track.  The band is not just interested in finite sounds defining what they’re doing; it’s quite refreshing.  And, the closing number, “Fragment’s Light,” is an airy closing touch, which again allows you to reflect on everything you’ve heard before.

My advice to you when listening to Sun Structures is to set aside some time to devote to listening to it as a whole.  I understand that in today’s world we often don’t have the time, but if you rush your listen, as I might have done on the first few plays, you’ll miss out on a very cohesive release that seems to be arranged perfectly.  It’s easy to lump Temples in with the masses of psych bands riding the waves of a tired trend, but if anything, this release shows there’s far more laying in wait, if you’ll only take a little time.

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