Tag: album review

Interpol – Interpol

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Rating: ★★½☆☆

A few years back, Interpol seemingly could do no wrong with indie fans, but then came the debacle that was Our Love to Admire.  It wasn’t an affair many of us remember fondly, but that is all supposed to be in the past now that Interpol, the album, is ready for the streets.  While it definitely reverts back to older stylings of the band in its hey-day, it is a record that will force you, once and for all, to get off the fence.

Listening to “Success,” you’ll find those dark rhythmic bass lines and Paul Banks darker vocal effects giving you that personal haunt as guitars ring in the background of the track.  However, it comes off as a bit of a lackluster rendition of the band on Turn Off the Bright Lights.  Some of the bass work here is super-solid, but the entire sound of the song isn’t entirely new.  “Memory Serves” even appears in the same vein, though its execution is far superior to its predecessor.  Those stuttering guitar chords dancing on the shoegaze horizon are superb here, and the slower pace allows you to delve deeper into the band’s mood.

“Lights” came out to the masses with a great video accompaniment, portraying the artier side of the band.  And while the song, for the most part, is actually a solid effort, it begins to display the same trappings of Interpol trying to revisit their early career. They use similar guitar lines, and nothing is utterly distinguishable from the old band, other than a more polished production value.  “Barricade,” for its part, gives a bit of an affront to the audience, using a sort of stuttering guitar line to mix dance grooves with the haunting of Paul Banks.  Despite the powerful chorus, it seems forced, and sort of generic in its overall presentation.  It’s right about this point that Interpol seems to have sort of blended together, mashing up the grooves of the past with the polish of latter day sins.

At first listen, “Always Malaise” doesn’t appear to be too much. It’s got a tinkering piano that unites Banks with the listener, but it’s the echoing effects in the background that make this song worthy of several run-throughs on your home speaker.  Perhaps a sharper guitar would have given it even more of an edge, but you have to appreciate a step into newer ground on this number.  And that’s when it all seems to grow a bit cold and ordinary.  The creative spark doesn’t survive on the latter half of the album, and you could honestly cut out some tracks to make just a decent EP.  Interpol, for all their great work in the past, haven’t come back as strong as you expected after their last falter.  Listening to Interpol probably won’t make you hate the band, at least not if you’re an early fan, but it’s not likely to win back those that left, or new fans.  It’s an album full of songs you might think about listening to, but probably wouldn’t come back to time and time again.  It’s sad, frankly, as I’m looking at the band from the other side of the fence.

Sonny & the Sunsets – Tomorrow is Alright

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Rating: ★★★☆☆

Sonny & the Sunsets actually released this album quite some time ago, almost two years, from the word on the streets, but it’s really just seeing the light of day for the masses right now.  Despite that this is a re-release, this will be the first time any of us encounter Sonny Smith and friends.  Tomorrow is Alright offers us a glimpse into the past of the band, and where we can reasonably expect them to head in the future.

This might be just one man’s opinion here, but you’re going to be hard pressed to find a stripped down number this year as good as “Too Young to Burn.”  Sonny’s vocal affect is warm and friendly, like your older brother’s band is just having a nice little jam in your backyard.  And that chorus, man that chorus is just ridiculous.  Some will tell you that the whole affair peaks right here, but rest assured, there are many more solid moments to come, though this could go down as the best.

“Strange Love” operates in a different world altogether.  A barroom piano, and some acapella moments for accompaniment provide the track with a bit of country-western jangle.  It’s something that allows the listener to get into the spirit of the whole album, which seems fueled more by whiskey in dive bars than California sun.  You’ll also find yourself getting into “Planet of Women,” especially with the male/female vocal interplay that goes on between the lyrics.  It’s hard to see how a song that sounds so simple can be so elating.  There’s a bit of a wink and a smile in the songwriting process, and you’ll break into a grin when you hit the lyric “queen I like it like that.”  Special moment.

Other reviews have sort of dismissed the lackluster approach that appears throughout Tomorrow is Alright. Oddly, though the band take their time to warm you up to songs like “Stranded,” the power of such songs succeeds precisely for that approach.  The band isn’t rushing into anything here, not trying to be overly convincing for their audience.  But, in doing so, you will find Sonny & the Sunsets every bit as endearing as your favorite artists, simply because there is no pretense to the craftsmanship of the tunes; they just want to play for you.  Even as they seem to kind of half-ass it, they give you tracks like “Chapters,” which boils down to little more than a nice little stomp, and mentions of various chapters.  You might not be sure why you love it, but damn if it’s not enjoyable.

You’ll find a band doing their own thing when you come to the album’s closer, “Lovin on an Older Gal.”  A twangy little jam until the very end, but one that exudes confidence in the best way, showing that the band is indifferent to praise here and there, they just want to give you some great tracks to enjoy while you’re sitting around the house.  Tomorrow is Alright probably won’t wow too many listeners around the globe, but that doesn’t ever seem to be the point.  You want good songwriting that you can share with all your friends?  Then check out this re-release by Sonny & the Sunsets.

[audio:https://austintownhall.com/wp-content/uploads/2010/06/01-Too-Young-to-Burn.mp3]

Download: Sonny and the Sunsets – Too Young to Burn [MP3]

The Thermals – Personal Life

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Rating: ★★★½☆

Their last time out, on Now We Can See, The Thermals began to steer away from their conversations regarding art and politics.  They introduced a bit more of their personal worlds into their songwriting.  For the most part, they stick to these new tactics on Personal Life, using the title to indicate the album’s lyrical subject matter.

“I’m Gonna Change Your Life” kicks things off with that distorted guitar and bass, including Hutch’s vocals.  While the song definitely has a bit of that soft/loud complexity, it doesn’t have quite the same fury that one associates with the group’s previous efforts. It’s not until “I Don’t Believe You” pummels you in the face that you completely recognize the old energetic band you probably adored since day one.  You’ll find monosyllabic “oohs” throughout the track as well, a long trademark of Hutch and Kathy.

As the record creeps along, you begin to realize that changing subject matter also means a change in the overall approach to writing the accompanying music.  “Never Listen to Me” has this bubbling bassline that walks you through the entire song, but once again, the urgency is absent.  This might be disheartening for some, especially those longtime fans of The Thermals, but you’ll soon realize that even these slower numbers have some special moments, such as Hutch’s cutting guitar working its way in and out of the track.  Similarly, “Power Lies” takes a back seat to the regular pace, even though the song seems to contain remnants of olden days, or at least the ability to unleash.  Still, one of the things that you’ll notice as you go through this collection is that repeated listens don’t wear you down, and the slower pacing allows for more depth somehow.  These songs aren’t hitting you over the head in a hurry, so the odds are you’ll come back, able to keep rocking out to Personal Life time and time again.

There are some odd moves too, or at least those that will come across unexpected.  “Alone, A Fool” is basically an acoustic guitar strummed with Hutch’s vocals doing the majority of the hard work. Even though it is one of the shortest tracks to grace the record, for some reason, it’s one of those songs you can revisit separate from the whole.  But, just as you thought they were going to close out gently, “Your Love is So Strong” brings back that much needed energy, due mostly to the addition of Westin Glass and his pounding drum kit.  And so you find yourself near the end of it all, unsure how the band will leave us, at least for this round.   “You Changed My Life” closes it all out, and while there’s a lack of speed, it sorts of sums up everything about the album.  There’s light touches of traditional sounds, but with a slightly different direction to the overall construction of songs.

That about encompasses all that is Personal Life.  While they’ve maintained bits and pieces of their past, they’ve been able to adapt to a new member, as well as new subject matter.  It might take die-hard fans a bit of time to get stuck into this one, but the more spins you give it, the more you’ll find that its wholly more rewarding than previous efforts. The Thermals have written an album that still contains a certain edge, but allows you to absorb a bit more melody and understanding as you go track by track.  Give it time kids, it’s got some special moments waiting for you all.

[audio:https://austintownhall.com/wp-content/uploads/2010/06/The-Thermals-I-Dont-Believe-You.mp3]

Download: The Thermals – I Don’t Believe You [MP3]

Land of Talk – Cloak and Cipher

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Rating: ★★★½☆

When we last checked in with Lizzie Powell, she was on the road with Broken Social Scene, playing the role of chanteuse.  Now, she’s returned with her own group, Land of Talk, offering up their latest work since 2008’s Some Are Lakes. The new album, Cloak and Cipher, shows a much more developed band, and one that lives up to the early promise of the band.

When you listen to Powell’s vocals on the majority of opener “Cloak and Cipher” she has that same jazz vocal coating that BSS utilize, but in the chorus you find a much more distinguished lady, coming off a little gentler, a little more intimate.  There’s a driving drum line, that while not the most creative, serves as the driving force behind the track.  “Goaltime Exposure” has a lot of relatives in the Canadian scene, possibly too familiar, but the moment the song is turned on its side, magic is unleashed upon the listeners.  Powell’s voice is beautiful here, and there seems to be some sort of emotional release from the music itself, only to go back into the gentle progression before erupting in joy yet again.

The progression of Land of Talk is the one surprising element that does a great benefit to show the beauty on the album, as well as the strength of the band. “Swift Coin” opens up with a nicely drenched bit of reverb atop pounding drums, then Powell enters, and the mood changes.  Soft vocals provide a different texture to this song, letting the tension build until the chorus crashes in on the listener’s ears.  It’s quite similar, minus the pop element, to “The Hate I Won’t Commit,” which has to be the noisiest song the band has recorded to date.  Swirling guitar textures and effects used on the vocals create an entirely different emotion, until the band switch the tempo on you, giving you a little musical wink before pushing off into the louder spectrum again.  Such changes provide Cloak and Cipher with a lot more variance in the listening experience, making this record ultimately more rewarding than their previous effort.

It all closes with a solemn affair, “Better and Closer.”  Guitars are used sparingly, creating a sort of wall of noise that will accompany Powell’s voice for the duration of the track.  Elizabeth’s performance really sums up her talents as they’re seen throughout the LP. It rises quietly, yet with an angelic quality; it drenches the entire record in a coat of wintery pop tones that go a long way to establish the mood within each song.  Closing out Cloak and Cipher, you can be sure that this band is now finally hitting their stride, coming together in a cohesive manner we’ve yet to see from them.  To date, this is the best collection of songs by Land of Talk, and it goes a long way to establish the group as one of the new powerhouses in Canadian pop music.

[audio:https://austintownhall.com/wp-content/uploads/2010/08/04-Swift-Coin-1.mp3]

Download: Land of Talk – Swift Coin [MP3]

Jenny and Johnny – I’m Having Fun Now

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Rating: ★★★★☆

What can we expect when our favorite artists fall in love and write music together?  It didn’t work for Yoko and John, but would it work for Rilo Kiley songstress Jenny Lewis and her beau, Johnathan Rice?  Well, I’m Having Fun Now, the first album under the Jenny and Johnny moniker, really sums up the attitude of the duo, as that spirit, at least musically, embodies everything about the album.  Honestly, you’ll probably be having a lot of fun as well listening to this record.

When Johnathan Rice‘s voice kicks in on “Scissor Runner,” it’s a warm entry, and you begin to wonder when Jenny will show up.  Seconds later she greets her man with her distinguished vocals, sounding a little bit more like the Jenny Lewis of yesteryear.  Beginning at this point launches the record in the perfect direction, exhibiting a duo completely comfortable with one another, both in and out of the studio.  They even stop to incorporate some of the current California jangle pop with “My Pet Snake,” the first track that really features Jenny.  Her voice hasn’t sounded this great and confident in years, which may surprise some, as Rice helped her produce the much lauded Acid Tongue.  So far, so good.

“Big Wave” is another one of the record’s great tracks, and it’s one of those tracks that really takes you back.  Jenny sounds a lot fresher with her vocal performance, and while many love her country-fied leanings, she can still carry a solid pop tune.  It’s not the most incredibly innovative songwriting, but the casualness on display suits the duo perfectly; it’s like they were both born to write I’m Having Fun Now.  Even Johnathan sounds great when he takes the lead role, such as on tracks like “Animal.”  There’s a hint of devil-may-care in his delivery, yet there is a certain sense of confidence, perhaps from knowing his lover/best friend is by his side, as Lewis really brings her powers to the chorus here.

An edgier Jenny Lewis, who still writes her lyrics in much the same fashion as she always has, is on exhibit with songs like “Straight Edge of the Blade,” transporting listeners back to the days where she seemed so care-free.  This is perhaps the best accomplishment of Jenny and Johnny, bringing the best out in each other, supporting each other and uniting in strength. “New York Cartoon,” much like parts of “Scissor Runner,” uses vocals from both parts singing in unison.  It’s the perfect accompaniment, and you can clearly see why they’re such a match. These touches of balance and harmony lie in wait for listeners throughout the album.

In conclusion, you couldn’t really ask form more from the two songwriters here.  There’s hints of both their passion in these songs, sometimes edgy, sometimes mellow and warm.  Perhaps you won’t find the music the most innovative out there, but occasionally its those groups who clearly know each other so well that they bring the best out of one another that really hit home for us.  Jenny and Johnny have shown us just that with their organization of I’m Having Fun Now; the record shows the two having fun playing together, which leads to fun for us.  The ball is in your court Ben and Zooey.

[audio:https://austintownhall.com/wp-content/uploads/2010/06/Jenny-and-Johnny-Scissor-Runner.mp3]

Download: Jenny and Johnny – Scissor Runner [MP3]

Eels – Tomorrow Morning

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Rating: ★★★½☆

Man, just a few months back End Times, the brilliant record from Mark E. hit stores, and hit hearts.  If you were expecting more of the same from his latest work with Eels, titled Tomorrow Morning, well, you’re going to be disappointed.  This isn’t a stripped down acoustic affair, but fans of the band will definitely recognize his songwriting process on this go round.

Honestly, you can probably skip the opening track, “Im Gratitude for This Magnificent Day.”  It’s all ambient noise, but the one thing you can take is that it sets the stage for the play that will unfold before your ears.  It sets up “I’m a Hummingbird,” which relies on string arrangements in the background to accompany E’s voice.  Sparse instrumentation makes for an interesting listen, and while it’s easy to throw the Beck similarity in there, you sill have to love those scratchy vocals.

“Baby Loves Me” uses a little bit of oddball keyboard beats to kick the song off, and yet you’ll find that that provides a lot of energy to the song.  The chorus of “my baby loves me” with its gruff approach, gives you an odd hook with which to attach yourself to the song, but proper song construction isn’t as apparent here, as is the case with much of Tomorrow Morning.  But, “Spectacular Girl” uses the same structures, just in a more subdued manner, and in this instance, its far more successful than the previous track.  Light string touches give a little bit more depth to the electronic soundscapes, and Mark’s vocal performance here is one of the stronger appearances on the level, using some variance near the end.

Personally, “What I Have to Offer” is one of the stronger songs on the record, though that has a lot to do with its sonic tie-in to End Times. It’s more of a traditional song, and you’ll definitely find that it pulls on the heartstrings a bit.  Somehow, while it often seems phoned-in, there is a strong emotive quality to Everett’s voice that makes it so alluring when you’re listening.  Just listening to a song like “This is Where it Gets Good,” which is the album’s longest track sort of demonstrates that power.  You can almost remove the musical accompaniment all together and have solid vocals that can attract an array of listeners to his music.  And lyrically, he’s at his best again, a place somewhere between heartfelt emotion and tongue-in-cheek wordplay.

Oddly, a lot of this record doesn’t have the musical attraction that I placed on End Times, yet it still draws me in the more I listen to it.  E’s voice just has this other-worldly grace that blends melody and heartache, without ever seeming overly abrasive.  Tomorrow Morning just builds and builds, and it’s full of these light moments that are drenched in personal depth, for both listener and narrator.  At this point in the Eels career, I’m struggling to find anything wrong with what he’s doing, and I’m on the verge of becoming an obsessive fan. Join me.

[audio:https://austintownhall.com/wp-content/uploads/2010/08/13-I-Like-the-Way-This-Is-Going.mp3]

Download: Eels – I Like the Way This Is Going [MP3]

Ra Ra Riot – The Orchard

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Rating: ★★☆☆☆

It hasn’t been too long since Ra Ra Riot released The Rhumb Line, but you’ll notice a few sonic shifts when taking on their new record, The Orchard.  While their first album featured a lot of dark imagery furthered by the string arrangements, this new record doesn’t seem as dense, and the clarity of the vocals, while impressive, sort of seems forced.

While “The Orchard” isn’t the longest song on this latest effort, it definitely drags on.  Vocals and strings are the predominant players here, but the song doesn’t really show a lot of movement, and it almost has the feeling of a spoken-word piece.  But, if you’re looking for the bubbling bass from their debut, it does exist , such as on the following track, “Boy.” That being said, there’s not a lot else that comes to the forefront of the song, and again you find the band struggling to establish themselves with any sort of distinct sound.

It’s clear that Ra Ra Riot are in a different place entirely on The Orchard, and you’ll discover that sentiment just listening to the production of the record.  Vocals are dominating throughout, and the arrangements are a lot more sparse, allowing a lot of the instrumentation to blossom within the songs themselves.  The problem with this approach is that it sort of removes the sense of beautiful chaos that earned the band a lot of early praise after the release of their first EP.  On “Foolish,” for instance, there are spots where you could say a lot is going on, with strings, drums, etc, but thrown altogether, they just don’t have the same punch that the group once championed.   Even the pace of the majority of the tracks seems far removed from where the band left off, and this creates the sensation that a lot of these tracks are forced into completion.

One entry that does stand out is remarkable is “You and I Know,” which features vocals from cellist Alexandra.  It’s a nice change in the overall feeling of The Orchard, but it’s far too polished.  The band’s web site had a look at some raw recordings of the track, and they evoked a stronger emotion upon listening to that recording, as opposed to the one that makes the final cut of the record.  Therein lives the great problem of this record as a whole.  It’s too clean, and too earnest to please.  The Boy EP had a great song titled “Saccharin and the War” that gave hints at bigger things going on for the band, but it didn’t make the cut.  Whether Ra Ra Riot felt it didn’t fit the cohesiveness of this collection of songs is no matter, as it’s absence, and songs more in that manner definitely leave much to be desired here.  In all honesty, none of the record is horrible, none of it is bad, its just, well, there.  That’s sort of where this record lives, in a place where it was unable to distinguish itself from the other music of like-minded bands out there today.

[audio:https://austintownhall.com/wp-content/uploads/2010/07/02-Boy.mp3]

Download: Ra Ra Riot – Boy [MP3]

Magic Kids – Memphis

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Rating: ★★★½☆

Who thought that true twee pop went away and died?  Well, if it did, the word certainly didn’t reach the Memphis group Magic Kids.  Their new album, cleverly titled Memphis, is full of that old fashioned bounce and melodic shuffle that adorned some of the greatest indie albums of all time.  That being said, this record is good, though probably not quite on the list of all time greats.

“Phone” does throw some musical allusions around, though the one that sticks with me, at least in regards to instrumentation is Beulah. It’s got emphatic horns riding the crest of jangle guitars.  Backing vocals provide a nice warmth that fans of only the best indie pop will appreciate, and the strings continue with that nostalgic nod. But, “Candy” has a much more current spin on pop music, using a driving rhythm and male/female vocal tradeoff moments to create a saccharin sweetness destined to give your ear some serious cavities.

“Superball” is a good listen, though the best moments are the rising and falling melodies in between verse and chorus.  Something about it gives it a touch of adolescence, and that goes beyond the reference to the childish toy in the title.  Then, the group suddenly switches pace on the listener, giving the rest of Memphis a mellower twist.  Songs like “Summer” demonstrate the depth of the group as a whole, layering the various elements of the group carefully, creating a much stronger sound.  Perhaps it’s the arrangement, or the change in pace, but you can extract more emotion from the latter half of the record, though the first three tracks are still quite enjoyable.

Still, “Hey Boy” signifies a band well versed in hooks.  It begins with the female vocal entry, coming in quite playfully, but then it takes on a little bit of pace, using electronic touches, and a rolling drumbeat to take you on a summery trip full of good times.  Similarly, songs like “Sailing” carry a wave of bounce into the audience’s ear, although not with the same amount of whimsy that was applied to earlier songs on Memphis.  There is a certain sense of maturity with the craftsmanship on the latter-half of the album, even though playful elements like handclaps are still apparent.  They’re not really giving up on the tried and true tradition of twee, rather they’re actually making their own adjustments as a group, building their own sound.

In the end, Magic Kids have created a really strong debut album, and it’s one that will provide listeners with endless pleasure, which seems to redeem itself the more and more you absorb Memphis.  If you just put aside the first three songs, you’d have a really consistently fun record of great hooks and solid melodic moments, but you don’t want to discard those songs either.  They’re catchy, but in their own way.  Some might take a listen to this and claim to see the band growing up before your ears, and that’s a valid point, as the songs clearly progress in a more meaningful manner as the album goes one.  That being said, you’ll want to listen to it all anyways, as it’s just plain good fun.

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

Download: Magic Kids – Superball [MP3]

Darker My Love – Alive as You Are

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Rating: ★★★★☆

When California’s Darker My Love released their album 2 in 2008, you could definitely feel the psychedelic history of their home state coming through.  But, we fast forward to the present day, and it seems that their take on California rock has swayed a bit, moving into a different, albeit better, direction.  The new album Alive as You Are charts new territory, and while it may surprise old fans, it’s not to be dismissed.

Listening to lead track “Backseat” you find a fresher version of the band, one that is reminiscent of the Grateful Dead, if you extracted excess amounts of hippy.  It’s got a hint of the same drug culture, yet feels like the eternal setting of California.  This song even features some pseudo-jam guitar solos, though none that will make you drool in your beard while rocking the same solo for six hours a la Jerry Garcia.

While the album does seem steeped in the history of American folk/jam/whatever, it still has a presence that is pertinent to the modern music scene. “Split Minute” uses a deeper toned vocal atop the same crisp guitar sound found in the opening minutes, which sort of brings to mind bands like Blitzen Trapper, yet with the right amount of restraint, and none of the bravado–all good things from this end. It all leads to the early high-point for Alive as You Are, as “New America” just flat out wins.  It’s got a bit of a meandering guitar line throughout, but the half-sung vocal really establishes a casual mood.  What really pushes the song into the winner category is the chorus near the end, which just wraps the song up in this great little crashing harmony.

It’s odd, but even those who aren’t fans of the San Francisco roots music, such as myself, will probably find themselves digging deeper and deeper into the carefully crafted melodies that are evident throughout.  Slide guitars don’t even do much to dissuade listeners, and songs like “Trail the Line” are the perfect example of how, if executed properly, this style of music can remain vital and fresh in today’s world.  Amazing choruses seem par for the course on this record by Darker My Love.  The delivery of the words “please make up your mind, for me” just hit you in the face at precisely the right time, and nothing can go wrong for the band at this late juncture.

If you’re looking for detractors, you’ll be hard pressed to find one, though surely this album would be more successful during the late autumnal season, as opposed to the sweltering summer months.  And, yes, it does appear to drag in a few spots, but Alive as You Are succeeds on so many different levels that its remarkable to even think of this as the same band from a few years ago. I don’t know, but it makes me want to go listen to Neil Young.  Darker My Love have a dark name, and dark imagery projected on their cover, but everything about this record is warm and bright, making it one hell of an album, no matter what time of year you listen to it.

[audio:https://austintownhall.com/wp-content/uploads/2010/08/07-Trail-The-Line.mp3]

Download: Darker My Love – Trail The Line [MP3]

Dominant Legs – Young at Love and Life EP

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Rating: ★★★½☆

Ryan Lynch has been on our radar for quite some time now, as well as the radar of every major publication around these parts.  It’s not surprise that his first offering to the public as Dominant Legs gives us a slight peek inside his poetic pop ethos, but mind you, its just a peek; you won’t see anything more than the Young at Love and Life EP, as of now.

Title track “Young at Love and Life” definitely has a bit of a groove to it, right from the get go.  You get an electric jangle guitar backed up by some bleeping keyboard, just before Lynch kicks in with his vocals.  Hannah Hunt is a great counterpoint to Lynch’s heavier vocal traits, bringing back a circle of light heartedness that aligns itself with the upbeat movement of this track.

“Clawing Out at the Walls” has a bit more of a kitchen sink effect to it, using tribal rhythms along with various assortments of music in the background.  Ryan sounds a lot like Shearwater in this track, having a bit of a hiccup to his voice.  Similarly, the  music seems to have a sprawling quality, as if it sort of trails in and out with a wonderful melody.  At the two minute mark, he drops the vocals down an octave, and alters his vocal delivery; it suits this song perfectly, possibly more than the main vocal recording.

When you get to “About My Girls” you’ll find that Dominant Legs are back into the groove of everything, giving the listener a bit more of a beat to swing along with for the song’s duration.  There is a solid hook underlying this track, but it could probably use a bit  more distance from the opening track, as they seem to operate in territory far too close in proximity. As a stand alone track, however, this would surely win many over.

Closing out the short Young at Love and Life EP is “Run Like Hell for Leather.”  As the song opens, there’s a lot of open space, setting the perfect scene of one walking along a trail covered in foliage.  It’s got a bit more of a folk feel, which really allows for Lynch’s creativity and voice to go places he didn’t seem capable of going, at least when you use the more typical beat-laden tracks for comparison.  But, as you draw near the end of the song, you’re probably hooked.  You’ve been pulled closely by these four tracks, and sucked into the hype with the rest of us.  Surely this will be an adventure when the future of Dominant Legs sets its sights on a full length, but until then….

[audio:https://austintownhall.com/wp-content/uploads/2009/10/Dominant-Legs-Clawing-Out-At-The-Walls.mp3]

Download: Dominant Legs – Clawing Out At The Walls [MP3]

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