Tag: album review

Matt and Kim – Sidewalks

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Rating: ★★★★☆

This is an album that can be perceived in two very different directions.  You can look at it in reference to all the other music that comes your way – the complex, indie, intricate guitar filled albums that blow you away. Or you can just take this album in for what it is: a man with a keyboard and a lady on the drums, turning out simple and catchy tunes. I chose the latter of those two options. 

Sidewalks starts out with “Block After Block, “ classic Matt & Kim: electronic synthesizer patterns and the yelp of Matt carrying over the hyper beat provided by Kim. By the end of the song, by the end of my first listen I was singing along with him on the “Block after Block” line of the chorus; it’s just that catchy.

 I tried to dislike this album, really, I did. But halfway though “AM/FM,” the second song, those repeated “oh ay oh ay oh oh ay ay oh-a-oh’s” had me hooked and there was no turning back. In the first six songs Matt & Kim don’t pause for a breather, instead they turn out song after blistering fast song. Each and every one of these first six jams is quick and ever so danceable. Your toes should be tapping and your head nodding like crazy.

If Matt & Kim haven’t won you over before the first four songs, just wait until “Where You’re Coming From.” This is the epitome of why this album is so enjoyable. It starts out as a simple beat and builds over the course of the song, progressively adding more and more elements to the song, whether it is the buzz of synth, or the electronic beeps and boops. Just when you think they are going to push it too far, Matt & Kim throw it all together and make you feel like the guitar isn’t a necessary instrument for musical greatness.  The climax of the song is one of pure bliss; cymbals crashing, voices echoing, lyrics falling into their place perfectly, and the electronic noises blending together with the actual beat.

As I mentioned before, the first six songs are a nonstop party, but this doesn’t mean the last four tracks are boring, on the contrary, Matt & Kim finish ever so strongly.  They slow it down on “Northeast,” showing a bit a depth to their music from an emotional stand point because the imagery in the lyrics show true feeling as opposed to simple beats. They then bring back their rambunctious energy on “Silver Tiles  and culminate everything together with “Ice Melts,” leaving the listener in the same place where Matt & Kim started, except perhaps a little out of breath.

So before you turn your nose up at this work because it is currently in the number three spot of top albums on iTunes, give it a listen with an open mind.  Yeah, it isn’t the equivalent of work from artists like The National, but I believe that you’ll find an entertaining and danceable bunch of songs in Sidewalks, that are sure to make your party mix for the rest of the year.

The War on Drugs – Future Weather EP

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Rating: ★★★★☆

If you’re listening to The War on Drugs, or even interested in following the band, then odds are you’re a fan of Kurt Vile. While we can respect his individual works, it’s not Vile who makes a statement here, rather it’s frontman Adam Granduciel.  Future Weather was written predominantly by Adam, with a little help from some other friends, and it might possibly win over more fans, letting him step out of the shadow of Vile.

During the opening moments of “Come to the City #14” you will find that atmospheric ambient noise associated with Philly at the moment, but as it subsides, it goes right into “Baby Missiles,” kicking off a great three song set.  While you can definitely feel a bit of hazy, primarily in the background, this has more of an upbeat folk approach one might reflect upon if they’ve listened to Arcade Fire. The quickly spoken lyrics, that pounding drum rhythm, they all add up to that sound, and its so enjoyable, you can’t help but realize The War on Drugs is coming into its own.  Heading into “Coming Through,” you’re likely to find a bit more of a somber tone, perhaps given by Adam’s vocals or by the established mood of the music itself.  Guitars meander through various audio channels consistently, bordering on jamming, but there’s enough restraint here to keep a bit of focus.  Lyrically, you’ve got imagery associated with parting ships, a possible nod to Vile.  The sound of Future Weather goes even further into folk territory on the following track, “Pile of Tires,” with its ambling guitar effects, and its distant vocals, almost as if you were listening to the band from a far off stage. It’s got a certain warmth hinting at its influences, but it makes for a strong three song start.

The latter half of Future Weather EP is filled with just as much quiet beauty as the first half, leaving you wanting more than your getting, with only six complete songs present.  “Brothers” is like a pure American classic rock hit, carrying the melody with an understated bit of sunshine, unable to escape the darker mood of the lyrics and Granduciel’s vocal quality. Seems like the sort of jam you want to sing-a-long to with your friends, if you’re in to singing classic rock tracks.  The War on Drugs closes the EP out with a nice long track, yet it differs a little bit from the previous tracks, allowing the atmospheric touches to extend beyond their normal range. Vocals, like the music, comes across a bit drawn out, but it is refreshing to see a bit of a switch on the offerings up to this point in time.  But, don’t turn away too quick, as the pace slightly picks up, even though the vocal delivery remains slow. A nice way to close out this effort.

By the end of this listen, you’ve probably forgotten the association with Kurt Vile.  Adam G. has done a great job with The War on Drugs, and Future Weather cements his role as a songwriter in his own right.  As the weather waivers between warm and cold, I can feel this spinning on my turntable into 2011.

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

Download: The War on Drugs – Comin’ Through [MP3]

Diamond Rings – Special Affections

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Rating: ★★★★☆

In a world currently dominated by millions of people with laptops creating music, one has a hard time finding the perfect blend of electronica and pop.  Luckily, the hype behind Diamond Rings has brought John O’Regan to the forefront, just in time for him to drop his debut Special Affections.  It’s clear that his sound might not be the most innovative, but one thing is for sure, it’s definitely well-executed, leaving listeners with an album to spin over and over and over again.

Beginning with “Play by Heart,” you get a slow intro, with some tribal drums filling in the space left by the electronic atmospherics.  O’Regan’s deep voice, which often shifts tones, playfully discusses his heart-on-sleeve romance with a former lover. It establishes the mood of the entire record, walking along with personal retrospective lyrics and craft blended electronic pop.  Still, “Wait and See” is where the album really begins to take off, using a little bit of guitar riffage, and heavier beats.  The change in vocal tone, with additional layered vocals, during the chorus really brings the track home, offering up one of Special Affections best moments.

“On Our Own” keeps up the pace here, giving us more driving beats and blips, along with touches of orchestration to provide the record with a little more depth.  The chorus here has a delivered hook, similar to something you might have heard on Julian Casablancas’ solo record.  Surely this song will make you want to break into slow-dance mode with your buddies, shaking your hips and kicking up your feet.  It leads right into “You and Me,” which is one of the more playful songs in this collection, but once again its a shift in the tone of the vocal that provides just enough differentiation to make Special Affections interesting.  Simple beats and spoken-word delivery can wear you down, but John O. does well to twist in turn, whether it’s with his change in voice, or his carefully painted flourishes of additional sounds.  One listen to his twenty second electronic-rap near the end of the song, with a raised voice to end it all exemplifies his willingness to take his songs beyond the average band.

Despite his best efforts, it does seem that Special Affections has the ability to wear you down, especially when the slow songs begin to evolve.  Tracks like “Pre-Owned Heart” aren’t off songs by any means, yet they do get a touch redundant, as the extra touches present elsewhere seem to have dissipated.  Don’t give up on the record though, as Diamond Rings still has more to offer you in songs like “It’s Not My Party,” a track filled with a bit of electronic haze, O’Regan’s voice, and it only picks up from there, though never quite going too far.  The restraint showed here allows you to see how gifted a songwriter he is.  And it all ends with “All Yr Songs,” the shortest track here, but it illustrates his range, giving off a bit more of a summery appeal, as opposed to the earlier slow-club bangers he fills the album with up until this point.  As the song closes to an end, you’re probably noticing a smile on your face, noticing that you had fun listening to this track, and to Special Affections.  Not a bad way to end a solid debut.

[audio:https://austintownhall.com/wp-content/uploads/2010/10/10-All-Yr-Songs.mp3]

Download: Diamond Rings – All Yr Songs [MP3]

Warpaint – The Fool

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Rating: ★★★★☆

After seeing these ladies play at ACL I was quite impressed. Despite playing for a small crowd early Sunday morning they managed to bring their quiet girl indie sound to the outdoor setting rather well, heightening my excitement for this album. Their sound is a mixture of psychedelic guitars with female vocals that vary from hushed to super strong, over the course of the whole album, as well as even in just one song.

Warpaint starts off with “Set Your Arms Down,” which begins in a slow sort of fashion moseys along, drum beats feeling very stop and go, but glued together by the meandering vocals until the build comes and the drums begin to roll faster and the murmurs of lyrics build – in unison at some parts and mismatching in others—and just when it seems that the band is about to spiral out of control the song is reeled in and transitions to the next song. Warpaint demonstrates their ability to form a complete and total song that may take you many places, but in the end they bring you back home.

They continue this journey in “Undertow,” the pre-released single, in which it feels as though Warpaint is asking us those questions of bitterness. The lead vocalist has a certain real feeling about her voice that makes you believe what she is singing; these are not just words, but rather a series of confessions. Perhaps the subtle imperfections, or the rawness on some notes is what gives the song this vibe. Whatever it is about this song, it certainly conveys the idea that they are not just a girl band, but one that wants, and should, be taken seriously.

Almost as if nodding to their name, “Composure” starts out with an echoed group chant in the background. Then the band moves the song abruptly, the whole beat is basically stopped, to a faster pace. In this transition they add more intricate guitar work, and a new song is born instantaneously. After dabbling into this new groovier pace for the majority of the song they slowly dive back into the chant, bringing the tune full circle. The album then sways smoothly into “Baby,” in which the soft flow of ooh’s and the delicate vocals add onto the gentle guitar plucking to give the song it’s simplistic lullaby shell and the melancholy tone.

For only a nine track album, it seems as though you have been taken everywhere by this band. They start you off with thicker slow movers such as “Warpaint”, lighten things up with faster, more danceable tunes like “Bees” an then bring it home with songs that combine these qualities, which makes The Fool such an enticing album. Warpaint exhibits all the aspects of a girl group without coming across as too sugary. There is a bite to their sweetness that prevents this album from being a one note dud, but instead a precision piece. I look forward to future efforts from this group.

Frank Smith – Nineteen

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Rating: ★★☆☆☆

Frank Smith comes off as a culmination of several genres. You have the bluesy guitar and the classic bass lines that make up an alternative country group, yet the raspy and distinct vocals that correspond with a more rock or pop genre. At first listen to this group my mind immediately thought of Ben Kweller, whom shares a similar sound. This country/indie sound comes across as incredibly enticing at first, but as with Mr. Kweller, it can get a tad flat and colorless after a while.

The album begins with “Nineteen,” a slow burner at first, carried by the methodical drum beat for about a minute and a half of the song. Aaron Sinclair provides the hazy tune with his unique voice, which has a clear, yet somehow gritty quality about it that instantly draws you in. When the song picks up at just the right time, an enticing sound of the blues guitar is added to the sped up pace and prevents the song from turning into a dud. It instead leads listeners to the next song, “5, 10, 15…” which continues the mellow tone of the first track. The waves of echoed twangy guitars together with the soft vocals and the “oohs,” give it crisp and pure indie/country song feel, making this a stand out track for Nineteen.

 Perhaps it is just my general dislike for country music, but the rest of the album sort of blends together after this for me. The overall slow tempo and the super distinctive sound of Frank Smith grows a little dull after the first few tracks and loses my interest. There isn’t enough variation between slow song and fast song, or rather any different aspects to help discern song from song. The whole feeling with the album is too mellow; it becomes boring too quickly and stays that way for too long.  

But through the monotonous and flat line “chillness” of this album, a slow, yet interesting track floats its way to the surface in “Swollen Tongue.” The bass and drums start the song, sounding the same as the others, but then the band moves to the bridge, where all the members chime in with their respective instrument, providing the edge you’ve been waiting for this whole album. On this song, they put together their cool, and mellow sound with instrumentation that makes the song interesting and new.

This is an album that is fairly simple, yet offers a few great tracks that really show the potential of Frank Smith as a band. Nineteen isn’t a standout album at all, but it still has some good qualities about it.

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

Download: Frank Smith – Nineteen [MP3]

The Extra Lens – Undercard

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Rating: ★★★½☆

Now that John Darnielle has signed up The Mountain Goats to be part of the Merge Records roster, it seems only fair that he give the label a little sampling of his magic.  Instead of throwing a 7″ or a single out, he collaborated with longtime friend, Franlkin Bruno, to complete only the second full-length, Undercard,  by the duo known as The Extra Lens.  Frankly, Franklin’s participation doesn’t go too far to stretch the sound of the typical Darnielle work, but its his subtle touches here and there that give a bit more depth to the normal acoustic strumming of old JD.

If you travel the path of a normal MG release, you’ll find that “Adultry” isn’t far off from that place, except the slightest noise in the background, that of a nicely distorted guitar chopping its way through the melodic strumming of Darnielle.  It’s a shortened number, but what would come off as a short-penned song, now holds a new layer.  It’s these ever so subtle touches that alter the work throughout Undercard. “Cruiserweights” just uses the most basic piano tinkering off in the far horizon of the track, and even using that doesn’t really alter our perception of The Extra Lens as being yet another venue for Darnielle’s songs.  Basically, they’re the same old same old, only much much prettier.

You’re probably reading this, thinking that its just some boring re-hash of Mountain Goats material, but what it truly is, is just a man adding those finishing touches to his usual maseterpieces.  John Darnielle has to be one of the finer craftsmen of song, and instead of leaving those magnificent pieces raw, he’s opted to use his friend Franklin to finish everything off, add a little gloss, and give it a hint of sheen.

You know, the world really needs more songs like these, especially if they’re given the Criterion treatment by Bruno.  “Some Other Way” originates as a general unrequited love song, but an organ touch here, a far off strum in the background shifts it all, providing the song with the same sense of yearning that is created by the narrator’s words.  There’s even somewhat of a Western feel, almost as if a cowboy has lost his herd, and aches to get them back.  Such things are welcome in the great catalogue of JD.  And you’ll find odd pieces to fall in love with as well, much like “In Germany Before the War,” which employs nothing more than a whispering John, a down-trodden piano line, and perhaps a bit of accordion.  It’s a heavy emotion created, perhaps meant to accompany such a heavy-themed song.

You’ll find that Undercard, though beautiful in its entirety, really doesn’t venture too far off the beaten path of The Mountain Goats.  But, that being said, does it really hurt you to have more polished beauty from Darnielle, especially when he’s got Bruno paying keen attention to the most important details?  The answer to that question is probably no, so you should probably do what’s right, and go get your hands on the new Extra Lens record.

[audio:https://austintownhall.com/wp-content/uploads/2010/08/The-Extra-Lens-Only-Existing-Footage.mp3]

Download: The Extra Lens – Only Existing Footage [MP3]

Blank Dogs – Land and Fixed

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Rating: ★★★★☆

Mike Sniper has two things going for him: his label Captured Tracks and his project Blank Dogs.  Running a label that’s releasing a lot of the best music around allows Mike to keep in touch with the heartbeat of the indie community, which really benefits his own work, as you’ll see on the newest record, Land and Fixed.  This is easily the most accessible, and enjoyable, release from Blank Dogs, while still maintaining that covert aesthetic he’s always utilized.

“Goes By” starts things off, and immediately the beats are dark and moving, just as that angular guitar line starts to dance about in the background of the track.  Sniper’s vocals are still coated, though they’re easily the clearest vocals he’s used to date–there also appears to be some backing tracks used to give more depth to his voice this time around.  As the guitar walks in and out of the verse and chorus it creates a nice powerful hook, sure to shake the dance floor.  “Collides” won’t do too much different than the opening track, though the song does a bit more as far as building tension up before jettisoning off into blissful dark-wave.  If you’re a fan of the band, or a casual listener, the clarity of the vocals this time around still has to grab your attention.

“Northern Islands” is the track that exemplifies everything about Land and Fixed.  It’s got this glitch beat erratically going on in the background, and Mike’s coated vocals haunt the dark edges of the song.  But, there’s this dark jangling guitar that recalls everything innocent about pop music, which goes a long way to establish the aesthetic of this record–beautiful in the club and in your bedroom. It’s this stylistic choice that makes Blank Dogs so interesting to listen to in the current market.  They’re neither chillwave or lo-fi, but more of a progressive element of both, moved forward by a focus on classic pop hooks.  If you take a song like “All Around,” it recalls bits of old school post-punk and new wave, yet nothing sounds entirely too trapped in complete nostalgia. And a track like “Treelines” shows how easily magic can slowly unfold before you unexpectedly when listening to this record.  Every bit and piece seems carefully selected and placed, creating optimal reward for musician and listener alike.

If you were looking for one thing to knock, which we know everyone wants to find, that angular beach guitar sound does get a little bit redundant at times.  At spots, its brilliantly included in the scope of Land and Fixed, but other times it could be pushed in a different direction, perhaps a little bit more mischief in the guitar line.  Still, that’s hardly reason to dislike an album, now is it?  With the latest release from Blank Dogs you’ll see an artist who is tied into the culture of a great deal of left of the dial music nowadays, and his influence clearly goes beyond his work with Captured Tracks. It seems that as Mike Sniper has allowed time to progress, his music has grown substantially, leaving us to reap the rewards of his hard work.

[audio:https://austintownhall.com/wp-content/uploads/2010/09/Blank-Dogs-Northern-Islands.mp3]

Download: Blank Dogs – Northern Islands [MP3]

The Moondoggies – Tidelands

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Rating: ★★★☆☆

We can easily classify Moondoggies under the realm of folk harmony rock, as that’s clearly where their new album, Tidelands, has come to rest.  But, while you’re likely to use the Northwest as a reference point, due to the band’s location, and current trends, there seems to be a bit more nostalgic Americana on this record, which definitely makes it worth your listening ears.

Unfortunately, “It’s a Shame, It’s a Pity” opens up , which possibly gives the wrong impression to listeners right off the bat.  Now, this isn’t to say that this is a bad song, in fact, quite the opposite (I dug it), but it does tend to hint at modern folk rock trends, such as Grand Archives, just with a bit more of a twang and ambition.  Still, it’s not the most revealing song on the record, and it immediately sells the band’s sound short.  Following in its footsteps, “Tidelands,” doesn’t do too much to clarify things.  It comes from the same ilk, roots-rock featuring nice harmonic vocals.  Both songs are great, but you’ll find that Moondoggies have a great deal more to offer you as you move along–still, these tracks are good, but if its not what you’re looking for, keep moving along through the album.

“Uncertain” is the perfect track to display what the group are apt to do, from here on out we hope.  It’s a subtle meandering track, with Kevin Murphy’s vocals tugging on the coattails of a whiskey drunk Neil Young.  The percussion seems sleepy, but you find much more emotion in this track, much more personal reflection. This sort of track asks you to go back and look for phrases to fit to your memory–that’s the sort of song you’re looking for nowadays.  Similarly, the closing track “A Lot of People on My Mind” pulls you deep beneath the surface of the recording, as there are elements where you can here man waiver, questioning his existence, and those other timeless motifs of music.  Soft guitar strumming barely breaks the sound barrier here, forcing you to submit to the power of Murphy’s voice.  Surely we’d all be happy to hear more tracks like this.

Still, the band definitely have work to do if they’re to move beyond mere imitators and nostalgic songwriters.  “Down the Well” comes off busy, and doesn’t have the clarity that even the most quiet tracks of Tidelands offer.  Songs like these aren’t able to escape the haunting of ghostly influences, wearing the past on the sleeves of the musicians.  It is these moments that show us that Moondoggies have a bright future, once the kinks are finally ironed out.  Previously mentioned songs such as “Tidelands” or “Uncertain” stand on their own merit, but in the mix of the album, it makes for somewhat of an unbalanced effort.  Personally, the quiet moments are when the band seems the most successful, as this appears to be where they establish their own voice as musicians.  All in all, the effort here is good, but the execution itself needs a touch of work.

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

Download: The Moondoggies – It’s a Shame, It’s a Pity [MP3]

The Fresh & Onlys – Play It Strange

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Rating: ★★★★½

Let’s face it, a lot of the stuff coming down the pipe from San Francisco is going to be labeled with some sort of psychedelic tag, but as we’re all likely to see, a great deal of the bands are starting to mature, crafting stronger songs, music that’s meant to be deemed nothing more than that, music.  The new record from The Fresh & Onlys, titled Play It Strange, still holds hints of the psych-tag, but listening closely, you’ll surely notice the great strides this band has made with this effort.

“Summer of Love” probably doesn’t do much to move the band out of the San Francisco sound, but what it does show, upon first listen, is a cleaner sounding band, though there are still haunting effects on singer Tim Cohen’s vocals.  The guitars sound much sharper, the drums have a bit more clarity, and you’ve got a winner already.  Pushing forward, “Waterfall” seems to have the faintest hint of “oohs” secretly hiding in the far background, but that’s just one extra touch to make you fall in love.  The chorus is perfected, with the slightest echo as Tim sings “fall with me into the water,” but the greatest part is that spaghetti western guitar line beneath the group’s normal jangle.  This is perhaps one of the brightest moments on Play It Strange.

If you’re looking to see the band bring on something a bit more headstrong, look no further than “All Shook Up.”  You’ll get pounding drums in your ears as soon as you press play, highlighting one of the oft overlooked factors in the band’s success, their rhythm section.  While it may not be the strongest performance by Cohen, the intermingling guitar lines fit perfectly into the fuzzy bass lines and steady beat.  It’s reminiscent of classic 50s rock n’ roll, just cowering beneath a hazy fog of darkness, sort of like the cover art. It’s funny, but if you remove some of the recording processes from The Fresh & Onlys, you’d probably find a really solid pop band lurking somewhere.  “Fascinated” brings to mind various lesser-known Brit pop groups of the early 90s, but the band bring it out through a lens of their own.  The melody is catchy as you would expect, but you have to listen closely, digging deeper into the relevant nostalgia the group offer up to your ears.

While the majority of the songs on Play It Strange fall under the 3 minute range, there are some real slow-burners, none more special than “I’m a Thief.”  Cohen has this coy vocal walk through during the verses, pleading for his lover to remain faithful to her heart, which he claims to have stolen.  But, the chorus is a bit brighter, not lyrically, but emotionally, providing a bit of swing to the song, just before they close it out in instrumental fashion. Such songs clearly illustrate that the band has gone back further than the psychedelic era, drawing from more classic rock sounds as their influence, but they’re coating it in the dingy atmosphere of dive bars and seedy hole-in-the wall establishments.  It’s clear that The Fresh & Onlys are growing, and with the prolific songwriting of Tim Cohen, Play It Strange is just a sign of greater things to come.

[audio:https://austintownhall.com/wp-content/uploads/2010/09/The-Fresh-Onlys-Waterfall.mp3]

Download: The Fresh & Onlys – Waterfall [MP3]

The So So Glos – Low Back Chain Shift

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Rating: ★★★★☆

The So So Glos recently made the move to become part of the ever growing, and solid, Brooklyn music scene, but don’t let your preconceived notions get the best of you just yet.  Low Back Chain Shift, though short, is filled with promise of a ramshackle good time.  Surely this is going to be a band to keep your eyes, and ears, on as the future unfolds for this young band.

“Fred Astaire” kicks off this party with soft vocal from singer Alex Levine, but even early on you can see there is a gleam of trouble lying in wait.  Soon, you meet that, as Levine gives off a bit of a growl, as guitars cut through the steady drumming.  It’s not a bad way to start off an EP, and although the songs do hold pop tendencies, perhaps Levine can take the group to new boundaries.

Indeed, Levine will carry the band, not to disregard the contributions of the other three members, but “Live Like TV” definitely uses a nice little blend of surf guitar jangle entwined with precision garage drum antics.  Such songs are fairly typical nowadays, but Alex has this whiskey grit to his delivery, much like Hives frontman Pelle Almquist.  It brings a level of excitement and energy needed to make any band of this genre relevant.

“New Stance” is definitely an outlier in this brief collection of five songs.  It’s a slow dance number, using limited percussion, minor guitar strumming, and Levine.  It’s probably not the most creative song the band has written, but somehow, cleverly placed in the middle of the EP, and short, it works really well.  Once again, we can’t discount incredibly distinct voices, so Levine’s getting more points.

When you arrive at “Here Goes the Neighborhood,” the band has left there direction quite open, purposefully. They’ve got dirtier surf-pop and mellow tracks, but here, they take the surf-pop in a much-welcomed direction, giving the sound a nice bit of The Clash.  Damn you Alex Levine! Your voice is fitting to every stylistic change on this EP.  Towards the end, you just get a bit more of a nice rock-steady beat and groove, which never hurts.

“Lindy Hop” is the single track off the Low Back Chain Shift EP, although further listens reveal that any number could take that place.  This is probably the grittiest version of the band, with a nice little rattling percussive beat in the back, and Levine doing his best to bring some post-punk flavor to the band’s sound.  There’s a little bit more fury in this track than in previous numbers, especially with that little no-wave saxophone blast, but it just goes to show you that the band are willing to travel in any direction they choose, as long as it sounds good.

Your short visit with Low Back Chain Shift will surely leave you begging and pleading for more.  The So So Glos have slowly built a name for themselves, and a release with this much quality and diversity is not going to hurt that reputation much either. There’s something for us all in here, giving us grit and pop all mixed up. You won’t know what to do.

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

Download: So So Glos – Lindy Hop [MP3]

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