Tag: album review

Eulogies – Tear the Fences Down

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Rating: ★★★½☆

When we last heard from Eulogies on their album Here Anonymous, you could feel the energetic undertones dying to creep out from beneath your speakers.  While their latest piece, Tear the Fences Down definitely holds true in some areas to such a niche, we find the band exploring newer territories, ground that seems a bit more subdued, illustrating the growth process of one of our favorite bands.

The stuttering guitar line on “Out of Style, Out of Touch” might you to believe the band will be following line for line their old stylings, yet Peter Walker’s voice has a little hint of solemnity to it, giving the music a calming effect.  Sure, there’s a bit of a guitar solo off in the distant horizon, but the tinkering piano/keyboard and Walker keep the pace in a more soothing realm. “Intimate Debris” continues the push into a more developed sound, no longer relying on bombast and sharp edged guitars.  Here the band almost takes on a bit of a folk serenade, building a collective group effort to the forefront.

But, as promised, the band still has some definite hooks to toss your way.  “You Hide” has one of the catchiest choruses to hit the Internet this year, and the rest of the song dutifully builds that frivolity throughout, though you might think that there’s definitely a hint of innocence and discovery playing a role here. Even though such moments do exist for the duration of Tear the Fences Down, they are few and far between; this, however, is not necessarily a reason to dismiss the record–far from it!

I’m reminded a great deal of Nada Surf the more I go through the record.  They achieved moderate success, then evolved into something much warmer, creating a canon of music that even the truest of pop fans have to look upon with envy.  Such are the moves of Eulogies, crafting little melodic twists, altering their sound for the better. “Tear the Fences Down” uses acoustic guitar to give the song a more natural feel, and in doing so, it lets Walker take control of every bit of melody crafted inside the practice studio.  Once the drums kick in you have a frolicking piece of genuine pop music, and while it may not knock you on your ass, it gets more ingrained in your soul with each ensuing listen.  When I came across “Separate Heart” my inferences about the band’s progression really hit me; this band is really grown up–they’re really pushing themselves.  Okay, so it might not be the most original thing to include accordion (or whatever it may be), but that chorus is built with such care that eery listener surely will find that it hits a personal note–one of appreciation.

Closing the record is a little bit of acoustic rambling, one certainly indicative of the band’s home state, California.  You probably wouldn’t have guessed such a sunny piece of acoustic pop would have sprouted from the last effort, but sure enough it has; its done so in such a successful manner that listeners might not think of Eulogies the same way.  Perhaps that’s what the band wanted all along; they wanted more from their music and themselves.  Tear the Fences Down, in both title and music, shows the band reforming their sound, and building things up from the ground.  If they do it this well, who knows how far they can go.

[audio:https://austintownhall.com/wp-content/uploads/2010/11/Eulogies-YouHide.mp3]

Download: Eulogies – You Hide [MP3]

Smith Westerns – Dye It Blonde

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Rating: ★★★★☆

When the Smith Westerns first came about, I showed them a bit of indifference, and I think that was justified.  Vocals on their last album were really muddy, and almost hurt to listen to at point.  But dammit if the band just didn’t up and turn it around for their latest, Dye It Blonde.  Not only do the vocals feel vastly improved, but the music itself appears pristine at points, allowing the band’s talents to be presented to you in all their sonic glory.

“Weekend” really kicks things off on the right foot, and it even shines through with a bit of the musical nods to bands of the past.  That opening guitar squall, as well as many that appear throughout the record, definitely give me the feeling of “The Concept” by Teenage Fanclub.  Such a gentle vocal approach really sets the audience up for a warmer listening experience in comparison to the aforementioned early works; if you’re not hooked right away, just hold on a second. They give off a bit of an off-kilter vibe in “Still New,” using a steady drum beat to accompany the feedback of the guitar as it maneuvers sharply through your ear canals.  Personally, this is the song that grabbed me, but admittedly, I’m  a dork for classic power-pop, even if you can see Bowie/Bolan prancing around in the background.

You’ll find the band’s glam influences evolved, and they no longer feel as if that’s the sole inspiration for the writing on Dye It Blonde.  Sure, you can hear it in a track like “All Die Young,” especially with that high-pitch vocal touch, yet the band seems really bent on creating the perfect hodgepodge of all things pop.  If you can combine glam and Britpop, turn it on its head to make it sound modern, you’re bound to find winning tracks left and right; that’s just where Smith Westerns have gone beyond our expectations.  Besides, the fuzzed bass on “Fallen in Love” melded with some jangling guitar and cymbal work really provide you with everything you need in a solid pop album.

The thing I’ve noticed about Dye It Blonde is that its appeal is so large that everyone is going to discover their own personal gem, and I think that really defines this record in the long-run.  Personally, the whisper of the vocals on “Only One” grabbed at me right away, pulling me in as a listener.  It went on to move a bit away from the glam influence, almost reverting back to the days of pop that served as a precursor to the likes of T. Rex. There’s even a bit of a jammy breakdown near the end, so you know it’s going to be a rocking number live too!

You couldn’t have asked a band to do more in a short period of time than what Smith Westerns have accomplished.  They pieced together an album that utilizes their various influences, given those touches some nice fresh tweaks, and everything else dazzlingly fell into place. If you’re going to search for a record you can share with you and your friends, all of whom love different things from the rock n’ roll musical canon, then Dye It Blonde is assuredly the one for you.

The Decemberists – The King is Dead

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Rating: ★★★★☆

After not the greatest reception of their last album, The Hazards of Love, The Decemberists have made their way back to the classic sound of their folk rock. This time around they have shifted ever-so-slightly to a larger influence of bluesy, Americana tones. As this is their seventh full-length release, The Decemberists are far from amateurs.

The King is Dead begins with “Don’t Carry it All,” which is an immediate stomper. It starts as though the beginning of an epic novel- slowly growing more intricate and detailed, without becoming too heavy at the end. Once again the listener is treated to the superb writing that this band brings to its albums. Blazing harmonica and the strikingly unique and bittersweet vocals of lead singer Colin Meloy combine with string work and methodic percussion to create this enjoyable, albeit not groundbreaking, sound for the first song. The group moves right along to “Calamity Song,” which picks up the pace. Fierce guitar strumming and refined howling in the chorus adds a touch of wildness to the album before they tone it down for “Rise to Me.” On this number, steel pedal guitar and vocal harmonies in addition to harmonica once again shape it to be the most classically blues sounding song of the album thus far.

As on the preceding album and those before it, The Decemberists have always been nothing short of excellent storytellers and songwriters, if one can consider those two different things. On “Rox in the Box,” you get brilliant lines such as “We all do what we can/ we endure our fellow man.” While on the two complimentary songs “January Hymn,” and “June Hymn,” Meloy takes you on an imagery filled journey through winter and summer, two drastically different seasons. These songs are similar in their simplicity, but different in the images they create.

It is really hard to find a song that is lacking in good qualities on this album; I didn’t find any. With their outstanding songwriting in hand, the album heads towards its finish with “This is Why We Fight.” Like the first track, this one is laced with several instruments and lyrical strengths. During the chorus Meloy bites the endings of his words, giving edginess to the song. “Dear Avery” then rounds off the album slowly and softly, more steel guitar ending the album as it began: bluesy.

While this is an excellent effort from The Decemberists, it isn’t a stretch. Simple blues elements added an interesting spin, but it seems as though the group was discouraged from their last album to stray from their classic sound too much. If anything, the album artwork is a testament to my feelings towards this work; it’s really pretty, and I like it a lot, but it’s not mind blowing. It would have been nice to see where they could go, but I’m far from complaining.

[audio:https://austintownhall.com/wp-content/uploads/2010/11/Down-By-The-Water-1.mp3]

Download: The Decemberists – Down By The Water  [MP3]

Fergus and Geronimo – Unlearn

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Rating: ★★★☆☆

Almost two years ago, I caught Fergus and Geronimo here in Austin; they were just visiting from Denton.  Everything they did on stage was energetic and sharp.  A few 7″s came our way, and now the band have released their debut, Unlearn, for Hardly Art.  After honing their chops, it seems like the band have finally landed on some consistency with their sound, and it’s one that fits in with the modern scene.

Kicking things off with “Girls with English Accents” is a solid way to start off this record.  It’s got a little bit of psychedelic twang in the guitar lines, a repeated chorus line, but it’s the verses that demonstrate my favorite parts of Fergus and Geronimo. They’re sort of off-kilter and unhinged, all done in a playful manner.  Then you move right into “Wanna Know What I Would Do,” which has great elements, yet doesn’t quite fulfill the promise the morning.  Really, it’s just one part that sort of gets me in a funk, and it’s the delivery of “hahahaha.”  Throw that in with some loose lyrical focus, and you can see that at times, great songs get in the way of the band’s playful approach.

Fans of the more R&B influenced garage sound will find a gem in “Powerful Lovin,” using that crooning sound you’ll find on King Khan and the BBQ Show releases.  At this point, you’re bound to appreciate the band’s tendency to sort of shift all over the place, using a great deal of musical diversity to provide a great deal of listening diversity.  “Unlearn” is similar in this fashion, though it introduces a bit of spoken word from a female counterpart.  Part of me is reminded of listening to my mother’s classics from the doo-wop era of classic rock, and that’s not a bad thing by any means, mind you.

Fergus and Geronimo‘s bread and butter though seems to be their more amphetamine influenced jams.  “Baby Don’t You Cry” fits perfectly in with the likes of Ty Segall or a dirtier version of Nobunny.  Beneath it all lives sweet bubblegum pop, but it’s coated in abundant energy, giving the sound a bit of garage stomp, almost as if the band is hanging on by the seat of their pants.  “The World Never Stops” is another such jam, though it does have a nice little instrumental breakdown in the middle that really takes the track to the next level.  Perhaps it is just a hint of restraint, but it’s enough to give Unlearn yet another nice twist in the grand scheme of things.

Fergus and Geronimo have shown a lot of promise through the release of their 7″ work, and through that of their live shows. Now that they’ve got Unlearn out here for the masses, we see that talent come to fruition.  Styles are traded in and out from the get go, letting you get a taste of the band’s influences.  Sure, it’s a bit disjointed at times, and next time around the band might put more effort into the lyrical development, but this is one hell of a start from a band we truly think will do excellent things.

[audio:https://austintownhall.com/wp-content/uploads/2010/06/Fergus-Geronimo-Girls-With-English-Accents.mp3]

Download: Fergus & Geronimo – Girls With English Accents [MP3]

Wire – Red Barked Tree

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Rating: ★★★☆☆

What can one really say about Wire that hasn’t been said in the last two decades?  It seems they’ve ranged all over the place, constantly exploring their sound, pushing themselves in every which direction they choose. You have to give them respect in that regard, and with Red Barked Tree, the group seems to have written one of their best records to date, fulfilling from start to finish.

“Please Take” uses soft-edged guitars to sort of create a gentle angular soundscape, while precision drumming simply just keeps pace.  Yet, on the first track it’s the vocals, with lines like “please, take your knife out of my back,” that demonstrate the band giving more focus to the lyrical content…one of the things I felt lacked in some of their more recent efforts.

Of course, there are definitely some proto-punk tracks that give old fans, as well as new ones, something blissful and quick to hold onto with Red Barked Tree.  “Now Was” seems to come off a little bit too much, in my eyes, like a fast-paced breathing exercise.  Sure, the beat and guitar work kill it, but something about the delivery just didn’t seemed to steady.  Still, “Flat Tent” is personally one of the finest songs I think Wire has written to date.  You can tell that technology has definitely allowed the band to flourish with their efforts, as the production is spot on here.  One thing that both baffles me, and pleases me, is the band’s ability on this track to provide listeners with something so vibrant and energetic and, dare I say, in the now.

Keeping all that in mind, fans and newcomers alike will definitely fine some of the more sonically explorative songs proving their worth.  For a band that’s been around, you’re not likely to find guitar lines as sharp as you can find on “Moreover.”  Honestly, you can see the direction of the song from the get go, almost marching along, but the vocals and the way the guitar cuts through the song, yet still remains somewhat in the background, just builds the momentum of the track.  “Down to This” is really one of my favorite tracks on Red Barked Tree overall.  There’s something about the song that doesn’t really resemble Wire for me, yet as I’ve noted, you can’t really define the band, and that’s precisely what makes this song spectacular.  There’s dark undertones lurking in the background, and the soft release of the vocals allows you to hang ever so lightly in the air–check out the 3 minute mark.

You’ll find the finest moment on Red Barked Tree waiting for you at the very end with the album’s title track, “Red Barked Tree.”  This group seems to manipulate the sound perfectly, creating almost a swaying effect with the way the guitars unfold throughout.  In choosing not to rush the track, once again letting it build, the song really begins to take over you, yet it never gives you that complete emotional release. A little restraint in the end–I like that. After all these years you would expect a group to sort of dial-it-in, relying on their fan base to push sales, yet each time you pick up a new Wire record, you’ll be amazed at how current they sound.  Such attributes may note mean much to the download/delete generation, but fans of great music will surely find Red Barked Tree full of redeeming qualities.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/04-Two-Minutes.mp3]

Download: Wire – Two Minutes [MP3]

Bubblegum Lemonade – Sophomore Release

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Rating: ★★★½☆

You probably can search the Internet for a good deal of time before you discover a lot on Bubblegum Lemonade, the Scottish group from Glasgow, who are currently part of the incredible roster on Matinee Recordings.  We do know the band is fronted by Laz, who does work with some other groups, and that he’s a 12 string Rickenbacker enthusiast.  Other than that, all you really need to know is that he’s released his second full-length, aptly titled, Sophomore Release; on top of that, it’s just one heck of a good listen.

If you’ve been following the band, you’ll luckily notice the gem “Caroline’s Radio” from this year’s 7″ of same name.  This song features crystal clear pop guitars, with a bit of distortion in the middle, and casually gentle vocals.  Everything about this song echoes the band’s name, it’s pure bubblegum pop, in the greatest way possible.  Personally, I dig the way the band sounds tight, as if you’re in the recording studio with them, as they stop and start at various moments throughout the song.  Following this up, you’ll find a nod to another Glaswegian band, namely that of Teenage Fanclub, on “Maybe Someday.”  Melodies are similar, though Bubblegum Lemonade seems like the squeaky clean younger brother, crafting harmonies, but weary of cramping big brother’s style.

“You Only Leave Twice” is one of the song’s on the record that will immediately jump out at you.  Up until now, Sophomore Release has had classy power pop jangles, but this song is more of a fire pit type track, featuring some tribal rhythms and acoustic strumming.  Female backing vocals add another dimension, giving the impression that we’re all sitting around in a circle happily bringing joy to one another.  Skip ahead a few tracks and you’ll find the catchy “Alice Please.”  There’s some effects running on the vocals that provide a bit more distortion, making this a heavier song, which fortunately goes along with the number’s thematic issues.

If you listen to the entire album from start to finish, you’re likely to discover that the entirety goes by quite breezily, yet brings you an undervalued sense of happiness.  Songs like “Autumn Sky” just have this understated beauty, perfected by our man Laz here.  It’s got a bit of atmospheric coating, yet done in such an innocent way that you’ll surely picture the singer giving you a smirk from behind the master tapes.  Or perhaps you’ll find yourself falling in love with “When She Goes,” which uses some psychedelic guitar lines and female backing vocals to fit in just another moment of whimsical exuberance to Sophomore Release.

From start to finish, this album doesn’t offer you a bad track, nor one that you can skip as you look for that hidden gem.  Everything about the delivery, the innocence and the magic of pop music lives within the walls of Sophomore Release, which should make us all rejoice in the fact that secretive figures craft some of the most incredible power pop that will ever fall on our ears, so cheers to that Bubblegum Lemonade.

[audio:https://austintownhall.com/wp-content/uploads/2010/11/bubble10.mp3]

Download: Bubblegum Lemonade – You Only Leave Twice [MP3]

The Parting Gifts – Strychnine Dandelion

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Rating: ★★★★☆

It’s not like Greg Cartwright is new to the game of rock n’ roll, but he manages to continuously add the tiniest tweaks to his sound, crafting solid album after album.  This time around, we find Greg joined by Coco Hames of the Ettes to form The Parting Gifts.  Their new release, Strychnine Dandelion, is all over the map, but it lives in a place of nostalgic sound, harkening back to the 60s, twisted through a bit of gritty garage influences.

Pressing play on this LP will probably excite you, as it should, but don’t let “Keep Walkin” fool you.  Jangling garage pop with a catchy chorus definitely makes this song a winner, yet you’ll find that as the record unfolds this song is sort of a one-off, as its the most modern sounding track on Strychnine Dandelion.  Still, the more you proceed with your listening, the more other gems will unfold before you.

Cartwright channels his inner Tom Waits on “Strange Disposition” scratching at his throat to release his vocals over the piano-laden track.  As the guitar drifts in and out of focus, you clearly get the sense that Greg’s in full control of his gifts at this point in his career.  “Shine” really wins you over with the couplet of “I’ve been saving my best lines/for when her eyes meet mine.”  Sonically, the song definitely gives a nostalgic nod to classic country-tinged rock of yesteryear.  Guitar soloing adds an extra bit of class to the track as well.

Let’s not forget that Coco Hames plays the foil to Cartwright in The Parting Gifts. Abundant nostalgia leads to the group to calling upon the girl-group sound during “Born to be Blue.”  It’s a subdued track, with the focus on Hames as she finally takes the lead all on her own, while Gret coos some monosyllabic sounds in the background. She furthers this sound on “Sleepy City” where her pitch definitely has a sultry innocence that makes the tinkering piano seem obsolete, instead letting the listener be drawn in by her voice, which has hints of a classier Neko Case. We shouldn’t forget that her role throughout Strychnine Dandelion also works great juxtaposed against Greg’s.

The closing moments of Strychnine Dandelion don’t make following the musical shifts less enjoyable. The records title track, “Strychnine Dandelion” has a twirling in the clouds arrangement, using strings to further the sound of The Parting Gifts, while that tiny hint of piano allows Cartwright to control his slight warble to great effect.  And then Coco returns to close it all out for us with “This House Aint a Home.”  She’s got a bit more of a country chanteuse on this number, once again displaying the band’s ability to wander all over the map, musically speaking.  Up to this point, the band has covered a great deal of territory, from country rocker to barroom ditty to garage pop, giving us all a bit of everything we love, in both current and past sounds.  That factor, along with the fact that they offer up 15 tracks, allows listeners to traverse the annals of musical history, done to perfection by The Parting Gifts.

[audio:https://austintownhall.com/wp-content/uploads/2010/09/partinggiftskeepwalkin.mp3]

Download: The Parting Gifts – Keep Walkin [MP3]

Sun Airway – Nocturne of Exploded Crystal Chandelier

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Rating: ★★★★☆

As the human race keeps pushing towards a completely digital age, it is no longer a novel idea to rely on our computers for musical inspiration. Take Animal Collective, and countless others that have delved into the seemingly bottomless pit of electronic sounds. However, there is a definite difference between dabbling into the realm of electronic alternative pop and diving too far into the deep end of noise. With Nocturne of Exploding Crystal Chandelier, these two gentlemen skate this fine line as though tightrope walkers.

The album starts out with “Infinity,” which, to my dismay, is a bit of a redundant dud when pitted against the rest of the songs. However, if you look past the first song and onto the second, “American West,” you can see what this band has to offer. Coat upon coat of electronic fizzle combine with a slightly cloudy vocal to produce a song that is filled with noise, but allows for a ton of variation in said noise so that the listener doesn’t tire of the same drone, but becomes interested in the complexity of the song. This is where I feel Sun Airway failed in choosing an opening song for their debut; shouldn’t the first song grab my attention and make me ask for more?

Next the band travels farther into the bliss pop genre with “Swallowed By The Night,” which is a change from the first three songs, in that it is devoid of the buzz and fast pace. Instead, this song focuses on the sweeping qualities in the vocal, which are sprawled in some parts, and then pulled back to their robotic precision. From this, the song gains an emotional dimension and allows you to feel like you are standing alone with the night sky, engulfed by its vast darkness and captured by the millions of twinkling stars.

And so Sun Airway continues with their neo psychedelic pop, alternating between faster, less human songs, and the softer, easier to emotionally read beats. A song that stands out strongly is “Your Moon.” The delicate vocals break into a downright outburst of longing when the chorus sounds clearly: “I just wanted to be your moon/ alone in your night sky.” This song truly encompasses the delicacy that this group angled for in their nod to Chopin’s Nocturnes. Like Chopin’s music, this band is soft when it needs to be, yet juxtaposed with sharpness that makes for a really pleasurable listening experience.

As far as first albums go, Sun Airway do an excellent job in showing their distinct sound, without growing too hollow or redundant, as electronic beats tend to. For this, I commend them and look forward to their next work.

[audio:https://austintownhall.com/wp-content/uploads/2010/08/03-Oh-Naoko-1.mp3]

Download: Sun Airway – Oh, Naoko [MP3]

John Wesley Coleman – Bad Lady Goes to Jail

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Rating: ★★★☆☆

Reading lots of press about John Wesley Coleman can lead you in the exact wrong direction. You can’t really label a guy a trashcan troubadour; that sort of attitude will definitely give you the wrong impression of the tunes at hand.  Bad Lady Goes to Jail definitely has a layer of filth attached to it, but beneath it all you can tell there are some crystal clear melodic sensibilities.  You won’t have to dig too far to find your first gem, so get ready right away.

Kick off this record the right way, and you’ll find one of the best tracks, though that’s up to personal tastes.  “Bad Lady Goes to Jail” has this scuzzy guitar line discordantly jangling in the forefront, while a piano line tinkers in the back.  Coleman’s voice isn’t hurried, and you’ll find an underlying gentleness, showing that despite his grit, the guy still has some restraint. Opening minutes of Bad Lady Goes to Jail continue within the first few tracks, and “Lazy Baby” has a little of that garage twist and shout feeling to it, almost giving you a bit of swing. The chorus has some emphatic shouts, but everything in the early moments has John Wesley Coleman killing it.

Of course, this album isn’t all gritty pop ditties, there are still some garage filters going on, though one would be likely to say that they’re not quite as successful as early offerings on the album.  “Ooh Basketball” has a nice little guitar line to it, one that fits everything, but the vocals have a bit too much distortion on the front end, and the lyrics are slightly lacking, at least for the tastes of some individuals.  Let’s just say, the depth doesn’t run too deep with several of the tracks here and there, even though musically, Coleman still seems to be doing all the things we know and love.  Who knows, maybe the guy just wants to have fun, so we can’t knock that.

One of the songs that will really surprise you, at least in its straightforward approach is “Go Baby Go.”  It’s got this incredibly lackadaisical wandering to it, and the fact that the majority of the song has minimal production, really gets to you.  With all the itsy bits of noise here and there, this song comes out of nowhere.  Surely this is one of the stand outs, hiding quietly in the middle of Bad Lady Goes to Jail. Along with “Something in My Brain Wants Something,” you get a bit of relaxation, a brief stop off on the records confrontational approach to songwriting.  Their more subdued, and in placing them properly in the middle, it’s the perfect opportunity for you stop, go back, and find your favorites.

Clearly John Wesley Coleman has something special about him, as you will discover when listening to Bad Lady Goes to Jail.  He operates in a certain genre, yet its easily drawing from all over the charts, making this effort a lot less static than other releases that you’ll find.  His ability to weave all these influences into one album, let alone one song, is what gives JWC a nice step above the rest, making this a great destination for your listening pleasure.

[audio:https://austintownhall.com/wp-content/uploads/2010/10/01-John-Wesley-Coleman-Track01.mp3]

Download: John Wesley Coleman – Bad Lady Goes to Jail [MP3]

Weekend – Sports

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Rating: ★★☆☆☆

Slumberland has been fortunate enough to have always stayed true to their original sound aesthetic as a label while still offering up a diverse clientele for their audience.  Enter San Franciscos’ Weekend, another group offering up a noisy debut, fueled by certain sonic and textural elements we’ve all come to recognize.  Their album Sports does have certain touches of diversity when compared to the grand spectrum of things, yet those modifiers that make them relevant often seem to get in the way of the progress they offer as a group.

Listening to the first track, “Coma Summer,” you almost get the idea that this might just be a nice little pop number, as the song’s intro includes a nice pounding drum and jangling guitar.  Still, the echo in the background has a haunting quality, and as the song pushes forward, that quality explodes into buzzsaw guitars that practically obliterate any chance of vocal comprehension.  Underlying melody is all well and good folks, but if you don’t allow room for breathing, then what’s the point?

Clearly, the scope of the record does have some lyrical value, but it often seems to have evolved as an afterthought to the completed musical process for Weekend.  “Youth Haunts” has this brooding bass work that really propels the song forward, but as guitars knife their way discordantly through the song, the vocals appear very distant, as if they were recorded separately, then spliced onto the tape in another session altogether.  Similarly, “Landscape” has that certain appeal one would find in the early days of Manchester, yet part of you probably feels a driving need to connect with the vocals themselves.  That’s probably one of the great difficulties with Sports; you either connect with the noise itself, or you’re spending your time chasing after the lyrical content.  One of the things that made bands like Joy Division so successful was their ability to bring you that connection, offering up vocals that could be discerned, while still piling noise into the whole affair.

One might find themselves extremely frustrated with Weekend by the end of this whole affair, as there are clearly elements that seem successful in their own merit, such as the track “Age Class.” Once again, the rhythm section practically owns the song, giving you this animalistic power that only increases the tension as the song progresses.  Normally, there would be some sort of release, some sort of resolution, but Sports just never offers that sort of cleansing moment.  Perhaps that is where my listening habits have gone wrong; I’m not capable of connecting both the sounds of this record and the vocals in order to decipher the message, song by song, let alone the whole album.  While plenty of elements suggest the conceptual ideas throughout the entire listen, for some reason, the band’s purpose just never seems to fully evolve, leaving listener’s, myself in particular, asking for more from the group. I suppose you can leave this all up to personal tastes, but despite lots of pleasurable listening moments, it just never seemed to complete its journey, leaving me interested, yet entirely unfulfilled.

[audio:https://austintownhall.com/wp-content/uploads/2010/09/01-Coma-Summer-1.mp3]

Download: Weekend – Coma Summer [MP3]

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