Tag: album review

Admiral Radley – I Heart California

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Rating: ★★★☆☆

Odds are you know more about Admiral Radley than you think you do.  Comprised of Grandaddy members (namely Jason Lytle) and Earlimart members, the band has concocted an album titled I Heart California, which has left the Internet hounds wondering precisely what would come of this collaboration.  Well, if you know these artists, then you know precisely what the sound will be, and you’ll either love it or hate it, depending on your attachment to aforementioned parties.

Kicking things off is this Grandaddy-esque “I Heart California.”  It’s laden with pounding piano, blended with textures from electronic land, and it blossoms during the chorus with that trademark wall of euphoria. Odd lyrics, well, for a song about California, such as “fake tits in the symphony” make one wonder about Lytle’s dedication to his homestate, especially after his move to Montana.  Nonetheless, it’s the catchiest number of the collection, and one worthy of so many repeat listens.

But, bubbly software pop is not all that fills the minutes on I Heart California.  Aaron Espinoza takes the lead vocal on several tracks throughout the duration, and his soft touch gives tracks such as “Ghosts of Syllables” a warmer, less-quirky sound.  It’s an interesting dynamic, providing listeners with a substantial bit of deviation between songs, although this might lead some to look at a lack of cohesion, or perhaps a schizophrenia within the writing process. Aaron isn’t the only Earlimart member to share his voice here, as Ariana Murray gets her own number with “The Thread.”  It’s something that seems to fit with her own personal style, using a certain light-hearted approach to the crafting of the melody, which really takes control of the song itself.  However, it seems oddly placed smack in the middle of the record, and it kind of breaks up any momentum the album had.

All their appearances aside, Jason Lytle is really the mainstay, or the big ticket here.  His presence alone provides Admiral Radley with a substantial amount of credibility from the get go, and it pays off with songs like “GNDN.”  Skeletal piano holds the song up, as quiet guitar strumming and light percussion build the landscape of the song itself.  Electronic beeps and blips, a Lytle staple, are largely absent, at least in the final mix, which actually makes a strong argument for Jason as a songwriter.  There’s something in the fragility of his voice here, something unnamed that makes it all extremely affecting.

Most listeners will likely find the last four songs the most enduring in their playtime of I Heart California.  “End of Me” starts the final run, and if you could strip the casio keyboard effects away, it might succeed as the best song on the album.  Beginning quietly, it erupts into a pretty solid rocker.  In fact, the more you listen, the more this might be  your favorite song here.  From there you go to “GNDN” all the way to “I Left U Cuz I Luft U.”  All if makes a strong closing statement, providing some structure and cohesiveness that seemed a little bit scattered from the beginning.

Casual listeners of Admiral Radley will definitely find some really rewarding moments on I Heart California. They’ll find pop gems waiting to make your day brighter; they’ll find the attraction to Jason Lytle many discovered years ago.  Those who fell in love with Grandaddy and Earlimart might be a bit disappointed, however, as you expect these four to knock it out of the park, blasting us all into sunshine.  Instead, they give us a good record, not a great one.  There’s nothing wrong with that in the long run, as good records are often rare nowadays, and, besides, isn’t it just nice to have Lytle still around writing music?  One listen here, and you’ll be sure to agree.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/1-I-Heart-California-1.mp3]

Download: Admiral Radley – I Heart California [MP3]

Wolf Parade – Expo 86

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Rating: ★★★½☆

Three albums into their career, it’s difficult to explain what exactly the entity Wolf Parade actually is, as it stands at present.  Their insanely popular Apologies to Queen Mary blew us away, but as more side projects came into the foray, the group didn’t seem as tightly knit as they once were, almost as if they exhausted their creativity in other works.  Will Expo 86 see the return to greatness? Will it finally win everyone over?

Pounding drums introduce the album, with singer Spencer Krug letting his wavering voice accompany the guitars on “Cloud Shadow of the Mountain”  There’s a sense of urgency in the song, as if the band is dedicated to make an impression.  If there is a note to make from the get go, it’s that Wolf Parade have come out firing with a barrage of noisiness–not a bad idea.

You’ll relive the heavy bounce of the group’s olden days when you come upon “What Did My Lover Say.”  Keyboards are met by slicing guitar lines, and Krug sort of his hangs his vocals in the air during the chorus, but clearly the cohesiveness wins out here, as all elements work together tightly.  As usual, this isn’t just Krug’s entourage, it’s a group with two dynamic singers.  Dan Boeckner brings his throaty post-punk vocal to “Little Golden Age,” which is an energized number with dark undertones of electronics that drive the song to its rambunctious climax.

You’ll find traces of the individual projects of key members lying around here. “Ghost Pressure” definitely wears the influence of Handsome Furs, using Boeckner and heavy electronic touches to give a little backbone to the tune.  Most people will find Dan’s chorus vocal extremely appealing (as I do), but you’ll also note the blasts from 80s house electronica coming through.  Krug plays his part too on “Two Men in New Tuxedos,” which bears his mark not only on the vocal, but just in the songwriting in general.  He definitely plays the role of the odd writer in the group, giving us less straightforward lyrics to follow than his partner.  All in all, there individual voices flourish throughout, but the success of Expo 86 lies in the team aspect.

Their disjointed presence at times has clearly dissolved.  You take a song like “Yulia,” which is probably one of the band’s most honest pop tracks to date, and you’ll notice that everyone is working together.  Drums are tight, Krug adds his keyboard flourishes, Boeckner takes lead, and it’s all so tight.  Separately they’ve honed their craft, and finally brought it all together to create a strongly united Wolf Parade.  Perhaps they’ve given up on offering hooks and whatnot to the audience, choosing to create art of their own liking with the perfect balance of all members taking precedent.  It makes Expo 86 a great rock album, and one that everyone will be listening to for the unforeseeable future, as the band is back, doing what they do best.  They’ve given us unique rock of the heavier sort, which suits us all just fine.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/WolfParade_GhostPressure.mp3]

Download: Wolf Parade – Ghost Pressure [MP3]

Love at 20 – Time to Begin

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Rating: ★★★☆☆

Austin’s Love at 20 is comprised of several members who’ve been making a name for themselves for quite some time (I remember drummer Mark Toohey as the man behind the kit for Lucidus in 99). Such backgrounds allow the group to bring an amalgam of influences to make a creative debut that’s as sharp as the cover art for Time to Begin would suggest.

Oddly, the band claim to have a huge influence of British indie rock, but opening track “The Look” has more of a resemblance to old Omaha circa the days of Denver Dalley.  It’s got extremely sharp guitar chords that battle from ear to ear, and a complex structure that didn’t really exist outside of the more obscure Brit pop groups.  Perhaps its the anthemic vocals during the chorus that harken back to that era, but nonetheless, its a solid lead track.

One might find that the band’s name sort of confines the group to a certain genre of writing, which comes apparent in lyrics and song titles such as “Let Her Know.”  Despite the leaning towards somewhat juvenile lyrics, which is just personal taste, this track emphasizes the bombastic approach that surely has built the band’s following around Austin.  Toohey’s drumming here is spot on, and the more creative he gets, the more powerful the group sounds.

“So Bad” celebrates Love at 20 stepping outside of the box.  A choppy guitar cutting in across a danceable bass groove really points to a group that doesn’t always follow their own anthemic formula, which is probably a point for future focus, as spots to tend to get a bit tedious with similar sonic structures.  “Time to Begin” also gives a breath of fresh air to the album, though it has some traceable roots to the band’s sound.  Personally, that chorus rings loud like something Jeremy Enigk would have pulled off during his best days of the 90s.  You can just imagine crowds with fists in the air screaming at the top of their longs, or at least you should.

Personally, the best run the band has during Time to Begin comes during the last three songs, “Hearts and Fire” and “Things to Come Pt. 1 and 2.”  Deep melodies and a sense of patience really reveal the craftsmanship dedicated to creating the record as a whole.  Maybe I’m just an old sad bastard, but I love it when the group slows things down, almost to a grinding halt, using the strength Mike Groener’s vocals to propel the tunes.  All in all, its a decent piece of work from another hard working band dedicated to keeping the Austin scene going strong.

You can grab yourself a free copy of Love at 20‘s Time to Begin HERE.

Stars – The Five Ghosts

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Rating: ★★★☆☆

Toronto band Stars has spent years crafting albums full of emotion, politics and love.  It’s now 2010, and the band have switched labels for The Five Ghosts, perhaps signaling a change in the band’s mentality, or at the very least, their dynamic sound.  Signing to long-running emo label Vagrant may not have been a bad idea in regards to exposure, but would such exposure exist on the merit of the music alone?

“Dead Hearts” oddly begins with the feel of a melodic Death Cab for Cutie song, with the guitar barely trickling beneath the alternating vocals of Torq Campbell and Amy Millan.  It’s a pleasant enough number, and one that newcomers to the band will surely enjoy, but it seems as the album begins to take flight that the group is already taking a rest.  “Wasted” similarly seems uninspired, as if Stars opted to craft songs in the vein of friends Metric; the lyrics even bear the mark of Emily Haines.

By the time you encounter “I Died So I Could Haunt You” you’re looking for some sort of extreme contrast.  The sonic barrage apparent on In Our Bedroom After the War (“Take Me to the Riot”) is no more.  Sure, the thick bass line definitely adds a brooding quality, but as the song builds towards an unknown climax, listeners will find themselves a bit unfulfilled.  Really, where are the drums here?  But, perhaps this is the direction the band has chosen to head, so we shouldn’t knock them for treading new ground, that is until you arrive at “We Don’t Want Your Body.”  Frankly, it’s a bit of a juvenile number, and where you want to find a bit of passion, you only get a little coy vocal from Millan.  Oddly, none of it really seems too bad, but at this point, it all seems bad in comparison to other works by the group.

Luckily for the band, Amy Millan is just incredible.  Lack of inspiration never seems to hold her back, as witnessed in “Changes.”  She practically carries the song all on her own, with, as usual on The Five Ghosts, very minimal instrumentation shining through.  You have to give her credit in the end, as her light definitely has a bit of shine to it, while the rest of this album seemingly fades into banality.

Still, there are some bright elements on this record to assure us all that they still have a knack for writing good hooks.  “Passenger” has this catchy little moment during the chorus that appears as part electronic, part vocal, and for whatever reason, it just grabs the listener. On “How Much More” there’s a bit of a ringing guitar to go with another great vocal Millan performance.  Back beats here give a little boost of energy to go along with it all, rounding it out to be one of the better tracks.

Not long ago I would have sworn by Stars, such was the quality of their back catalog, but The Five Ghosts just seems like an anomaly.  It doesn’t seem like a record within the character of the group I’ve gotten (or we’ve) to know for the last ten years or so. It would be wrong to call it uninspired, but you could easily say that this is nowhere near the band’s best work to date.  Hopefully, this is just a brief identity crisis, and one that will bring the band back stronger next go around.

[audio:https://austintownhall.com/wp-content/uploads/2010/06/Stars-Wasted-Daylight.mp3]

Download: Stars – Wasted Daylight [MP3]

Magic Bullets – s/t

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Rating: ★★★½☆

San Francisco of late hasn’t really offered up a lot of genuine pop records, instead it has a great deal of bands weirding out if you will.  That is until you hear the delightful sounds coming from the self-titled album by Magic Bullets. There’s a lot of obvious influences that you’ll hear on this, their second album, but regardless of where they’re coming from, the group is sure to be up for good things in the future.

It’s hard to tell if the band is using California as their starting off point, or if they’re just channeling classic Orange Juice riffs.  They’ve got sharp guitar hooks fueling the song, and the drums give it an extra bit of spring.  You might find a hint of Robert Smith in the vocals, but the overall atmosphere of the song is much more vibrant, creating less of a mood swing and more of a foot stomper.  A similar effect is employed in “Lying Around,” the single for the band, but the pseudo-yelp in the vocals can only evoke a magical quality you’ll find in the band’s name.  Bubbling bass work here goes a long way to give a bit of a groove, and one you’ll use to get your friends moving about your house.

Still, this isn’t your typical album chocked full of jangle pop, as slow-movers exist to provide an underlying level of depth.  “They Wrote a Song About You” catches you in the arms of your lover, twirling you about, as the vocals have a smooth croon, which is different than early exposure to the band.  “China Beach” moves really slowly, but careful guitar strumming provides listeners with a chance to give themselves over entirely to the emotive quality here.  As other songs seem to encourage you to catch up with Magic Bullets, this song asks that you slip into the song itself, going gently into the swirling beauty of the chorus.

Surely everyone will find joy in songs like “On Top of the World” with its ringing guitars reminiscent of recent work by The Lodger.  This is the music you can dance to while your arms flail about and your feet struggle to catch the beat.  It’s a track that lets you get lost in joyousness and carefree times.  Similarly, “Sigh the Day Away” goes all nostalgic, reflecting guitar oriented dance tracks of the mid-80s (this is before the cursed invention of laptop dance).  You’ll hear songs like these, with their solid percussive elements, and you’ll have no choice other than to give yourself over to the rhythm, as you should.  Just let yourself go.

Magic Bullets self-titled album has a lost of trademark sounds taken from various other groups, which I suppose could be the one knock against the group, but when you’re able to perfect such qualities, taking them to your own place, then you’re a success.  Every bit of this album sounds familiar, friendly and danceable.  Grab your friends by the hands, drag them to your living room dance floor and enjoy this pleasurable record.

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

Download: Magic Bullets – Lying Around [MP3]

Math and Physics Club – I Shouldn’t Look as Good as I Do

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Rating: ★★★★☆

Seattle group Math and Physics Club have one full-length and a few EPs under their belt, but after a short break it seems that they’re ready to continue their foray into the world of perfect pop tunes.  I Shouldn’t Look as Good as I Do is not power-pop, nor is it twee, instead its just crafty pop rock of the best sort.  It’s straightforward, and in being so, you find you’ve enjoyed the entire album without even being aware of why it sounds so good.  There’s no hype, there’s just great songs.

“Jimmy Had a Polaroid” opens with a swirling guitar line, but in a few short seconds the band bounces off on the backbone of great drumming.  Guitar chords battle between sharpness and gentle strumming, all the while commenting on the good times shared in relationship.   The idea of relationships is quite often a theme on this record, especially when you step into songs like “Trying to Say I Love You.”  Singer Charles is doing his best to prove a point, trying to win back the one he loves.  His efforts don’t seem to be effective, but the understated song just wins your heart time and time again, as often the simplest lyrics are often the ones that we connect with the most.

From here, Math and Physics Club take a bit of a divergence from their clever pop, going in the direction of The Decemberists.  In fact, its exactly what you wish The Decemberists sounded like, as banjo and horns are accompanied by well-crafted words, but of the overly verbose sort.  The only other song that slightly shifts away from the group’s sound on I Shouldn’t Look as Good as I Do is “I’ve Been That Boy,” which is just vocals and quiet guitar strumming (a touch of tambourine).  Oddly, such basic songs are often the hardest to write, and pull off successfully, yet I keep coming back to this tune time and time again.

Including upbeat numbers on this record really has paid off for the band.  “Will You Still Love Me,” which features guest vocals from Jen Garrett, pushes the pace, while still retaining the infectious pop sound of the group.  Adding a female vocal to balance the male counterpart pays off huge dividends, making the song one that lasts in your memory.  Even the inside joke of “We’re so DIY” has a faster pace, all the while carefully mocking the present state of indie rock music.  If it weren’t for an amazing melody, and the hint at putting fun (created by the “oh yea” chorus)  into the song, people might take offense; it’s hard to dislike a song so enjoyable.

In the end, I Shouldn’t Look as Good as I Do draws to a close before you even know it.  Ten songs in under thirty minutes, and yet you’ll turn right back to your stereo and press play.  While some may seek some sort of artistic virtuosity, it is often the band’s like Math and Physics Club that make the most delicious records.  They’re not trying to win any awards, they just want you to enjoy great pop tunes, and on that basis alone, this record is a huge success.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/mapc07.mp3]

Download: Math and Physics Club – Jimmy Had a Poloaroid [MP3]

Here We Go Magic – Pigeons

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Rating: ★★★½☆

When we first heard from Here We Go Magic on their self-titled album, the work was largely the product of Luke Temple.  On Pigeons, we find Luke extending the olive branch to his bandmates, collaborating on the collection of tunes, which leads to a more complete sound for the group, and one that shows a great deal of cohesiveness.

A crazy little bass line opens up the album, coated by the usual layering of the rest of the group on “Hibernation.”  More construction seems to be the biggest difference here, as details are fleshed out in every bit of space.  Temple’s vocals are really soothing, almost warm, which makes the vocal more of just another way to fill out the sound.  It all leads into one of the band’s best songs to date, “Collector.”  Temple’s vocal delivery when he says “I got a mild fascination” just gets me every time, and its not even the best vocal performance of his on the song.  Furious pacing by guitars and drums alike barely give you time to breathe, and before you know it you’re blasting on towards the end.

Some weird moments pop up throughout Pigeons, and perhaps this is just a personal thing.  By weird I mean there are some odd influences, that may not be conscious ones at all.  “Casual” really has a Stereolab feel to it, using electronic beats to build gentle melodies, with very soft vocals barely sitting atop the mix. “Bottom Feeder” is one of those sneaky tracks that doesn’t seem to fit quite into the entire album, although the Nada Surf feel might not be too far fetched for these NYC kids.  It’s a gem of a pop song, though it doesn’t fit the mold of the rest of the songs, but just focus on the fact that its a killer track.  Let’s not forget the quirky “Old World United,” which just feels good to listen to it.  It’s got a throbbing bass line and key use of electronic touches allows for maximum amounts of listening pleasure.

While the latter half of the record seems to largely be constructed of more jamming pieces, such as the fast paced “Moon,” the variance softer numbers are some of the more rewarding upon repeated listens. “F.F.A.P.” moves really slowly, and its one of the few songs of the set where Here We Go Magic seems to let Temple’s voice shine through, which it should do more often.  His voice holds this track in place while the music is secondary, used more as filler.   But, while those bright moments have all shown greatly during Pigeons, the album end sort of anticlimactically.  Two of the shortest songs close it out, and they seem more likely to be moments of tinkering and studio downtime than well thought out tracks one would include on a record.  It’s the one disappointing thing about the entire group of songs because up until this point in the album, it appeared that the group was really hitting their stride.  Alas, those weak moments aside, you’ll find growth and depth in the sound of Here We Go Magic, and no one can complain with artistic progress.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/02-Collector-1.mp3]

Download: Here We Go Magic – Collector [MP3]

Ty Segall – Melted

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Rating: ★★★★☆

Garage rock has made quite a resurgence in the last several years, and it’s been enforced, or heralded, by one torch bearer or another.  In the resurgence era we had King Khan, Jay Reatard and now we’ve got Ty Segall.  His new album Melted, on Goner Records, is just a dirty rocking party fueled by catchy choruses and pounding rhythms, so let’s get to it.

Ty has a style all his own, and its first apparent when he opens the album with “Finger,” just slowly strumming and lightly howling for a few extra bars.  Then the garage rock power fuzz kicks in.  There’s nothing clean about the sound on this track, and yet there doesn’t need to be, as Segall’s changing vocal delivery powers us through, right into “Ceasar.”  Bobbing bass lines bounce you through this number, as the percussion sort of bangs away haphazardly. Beneath the grit here lies Segall’s ability to carry melody, which he treats you to about midway through the track.

Melted doesn’t just pound away at your ears graciously, as the band can add a little bit of a jangle and swing to their numbers.  “Sad Fuzz” allows room for the vocals to sort of place around, and yet the chorus provides listeners with the impression of a young man slinging his guitar about, which you’re likely to catch live. Album closer “Alone” also demonstrates Ty Segall stepping outside of the scuzzy barroom brawl, doing his best to pull every bit of melody out of his words as possible.  While it might seem like a it of a drone, it definitely accomplishes its goal, closing the record with an appropriate breather.

Soft points aside, make no mistake that this album is stocked full of straight ahead power and energy, of that disastrous sort. After getting lost in the meandering feedback of “Imaginary Person” your caught up immediately in a bouncing number that powers along, much in the way Jay Reatard did prior to his death.  It’s the arena that brings about the best in Segall, combining his interest in modern garage rock with his desire to provide a little bit of a hook for the audience.  This is perhaps one of the best numbers on the album, almost bringing about the inner Danzig in the singer.  And you can’t ignore the forceful “My Sunshine,” which bangs around with remnants of late 60s garage.  Nothing on this track sounds clean: not the vocals, not the drums, not the guitar.  All the while, you’re tapping your feet, waiting to see what’s coming next, only to be side-swiped by a nice little guitar solo to end the song.

Ty Segall is keeping himself busy right about now, working on his own stuff and recording the works of others.  One would think that this wouldn’t leave time for much creativity, but rest assured, there is nothing boring about Melted. It’s loud and boisterous when it wants to be, and it can be a little bit gentle in spots.  Such a combination packs the perfect amount of punch, and just racks up another successful record from Ty.

[audio:https://austintownhall.com/wp-content/uploads/2010/04/Caesar.mp3]

Download: Ty Segall – Caesar [MP3]

Suckers – Wild Smile

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Rating: ★★★★½

For over a year, people (including us) have been salivating at the thought of having a full-length album from Suckers.  Finally, the time for Wild Smile is upon us, and it will go down as one of the top records of the year, fulfilling on all the promises and praise.  There’s no way around it; this record is fantastic.

“Save Your Love for Me” opens the album slowly, almost dragging out the melodies while the band introduces you to their gang-vocal approach that will woo you throughout the duration. Around the 3+ minute mark, the band bursts into a little bit of a yelp and high pitched squeal, offering up another dynamic to listeners.  Then it fades softly away, bringing you into “Black Sheep.”  As soon as the hi-hat is kicking, and those guitar chords cut in, your bobbing your head, tapping your feet, ready to memorize the words so you can sing along.  When Quinn Walker goes off, you get a sense of the wildness that goes along with their tunes, and their live shows.

Suckers aren’t just a group intent on blasting you away with in-your-face melodies; they can offer restraint at times.  You’ll find “You Can Keep Me Running Around” builds the groove in a rather slow manner, and still the dynamic of the band’s vocal approaches keeps your focus on the enjoyment at hand.  Similarly, “King of Snakes” has a sharp guitar line that slowly walks itself through the song, while various layers slowly build themselves into the song.  Careful listeners of Wild Smile will appreciate the variance in the song sequence, as the moments that let up slightly, allowing you room to breathe, certainly serve their purpose, all the while offering great music for your ears.

Although the entire album is superb, there will always be a standout track or two that simply rise above the rest.  “A Mind I Knew” is one of those songs, building slowly from the start until the rest of the song starts to catch up with the vocals.  It sort of stays there for a minute or so, but the band is intent on providing the maximum listening experience, as the gang-vocals rise in the middle creating an enjoyable sense of cacophony that grooves and bangs all the way to the end.  Personally, the one-two punch of “It Gets Your Body Movin'” and “Martha” are my favorite recorded moments of music to come out this year.  Part of me attaches that with the incredible live performance of the former I’ve witnessed on several occasions, and the fact that the recorded version aligns itself with my memories make it a wonderful piece of pop.  “Martha” is nothing short of exuberant fancy.  If you can refrain from bobbing your head and tapping those toes here, then you’ve won some sort of promise.  This track attaches to every happy muscle in your body, encouraging you to use them all at once.

One could go on and on about how amazing Wild Smile is as a complete album, but then again, those are just the words of an obsessed scribe.  Suckers have constructed album that you must absorb on your own, create your own reactions and be carried away by its power.  Rarely do we get to experience records like this that push boundaries and encourage exploration that will differ from person to person, but rest assured, all reactions will be positive, as these songs ask for nothing if not positivity.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/05-A-Mind-I-Knew.mp3]

Download: Suckers – A Mind I Knew [MP3]

The Drums – s/t

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Rating: ★★★★☆

The Drums have been on everyone’s radar for a little under a year now, but their star has continued to shine all the way up to the release of their self-titled album.  Their combination of surf guitar hooks and 80s electronic beats is destined to make this record the smash of the summer.  It might possibly be too sweet, but this is the kind of fun we should all have as we sit in our kiddie pools drinking beers with our friends this summer.

Opening with “Best Friend” you’ll find that bouncing groove of the bass moving you right into your first dance movement of the album.  Jonathan Pierce’s hip little croon will keep you swaying, just as it should.  It’s possible that this might not be the most artistic work, but there’s no denying that from the moment The Drums begins, it’s catchy as all get out.

First single from the group “Let’s Go Surfing” was one of our favorite Songs of 09, and it still has the same charm it did when we first heard it. Beach guitar sounds fused with whistling and a charming lyrics make it hard to ignore this song, and no matter how long you listen to it, it still has the kick you ask for in a great single.  Then you come into the beneficial “Book of Stories.”  While it retains the same surf-dance sensibility of early tracks, it definitely slows things down, turning the album in a different direction.  It’s pleasing to see such a variance here, as too much straight lo-fi pop might have put listeners in a sugar coma.  Similarly “Down by the Water” does the same thing, just a few songs later.  It provides a nice contradiction to the infectious pop moments, and Pierce’s voice rises high in the most charming way possible.  Personally, it gives The Drums more in common with bands like The Church rather than the surf version of New Order or The Smiths.

“Forever and Ever Amen” is accompanied by a killer video, and the swirling melody within this sound, despite a redundant bass line, really makes you swing your arms in pure ecstasy.  As the chorus goes “forever, baby its forever,” you feel as if you’re being sucked into some perfect John Hughes montage.  In fact, you can see the Breakfast Club dancing about the library here, at least in my mind, which is perfectly fitting.  It’s a reminder that the album is filled with a certain sense of innocence and frivolity that, when done in good taste, reaps marvelous rewards for listener and songwriter alike.

Time will surely tell how important The Drums self-titled debut actually is.  But, one thing is for sure right now: their intelligent pop tactics combining summer sounds with electronics is the perfect music for kicking off summer in the right way. This album is full of melody, hooks and just simple fun, and while that might not always be my cup of tea, it surely seems to be working with this record.

[audio:https://austintownhall.com/wp-content/uploads/2009/06/02-lets-go-surfing.mp3]

Download: The Drums – Let’s Go Surfing [MP3]

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