Tag: album review

Villagers – Becoming a Jackal

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Rating: ★★★★☆

Villagers is the namesake for Irish songwriter Conor O’Brien, and the release of his album Becoming a Jackal is every bit as glorious as early hype might have lead us to believe.  While the backing band for this project relies upon subtleties, Conor’s voice serves as the key instrument from which you will fall in love with his work.

Album opener “I Saw the Dead” begins your journey with a haunting piano line whilst O’Brien recounts his visions of seeing the dead.  It’s your first glimpse of his storytelling, which definitely has a more poetic leaning than a lot of modern lyricists.  You immediately find yourself immersed in his visions, precisely as the songwriter wants.  Then you find yourself at the title track following the frailty of O’Briens voice, and at this point you can’t help but to recall similar tonality shared with Zach Rogue.  It’s the proper choice for a single, although it might not be the song that portrays all of Conor’s strengths.

Entering “Ship of Promises” you start to notice a bit of a waiver in the vocals, something that should remind you of early Bright Eyes works (Fevers and Mirrors in particular).  Villagers succeeds in this arena due in part to the steady percussion that lines almost all the tracks on this collection, but you’ll find the vocals wrapping you up in Becoming a Jackal.  For instance, the fragility exposed during “The Meaning of Ritual” when O’Brien claims “my love is selfish/it cares not who it hurts” allows you to forgive the emotions being expressed here.  Not many songwriters can still accomplish that feat by voice alone.

Those of you looking for variance in songwriting will surely appreciate the juxtaposition of styles throughout the record, allowing you to move amidst the songs without finding yourself bogged down by monotony. “The Pact” has sort of a rollicking guitar line that lends itself to the more modern side of singer/songwriter genres, though careful orchestration places emphasis in precisely the right place, especially the organ that seems to grown for the duration (ed.-I’d love to see what Mike Mogis could do with this guy).  Yet its placed alongside “Set the Tigers Free,” a song that relies more upon the effect of barroom crooners.  There’s a slight bit of swing to the song, perhaps aided by the tropicalia accent in the guitar work.  One must surely appreciate the movement within Becoming a Jackal, as many songwriters have succumbed to the pitfalls of the profession.

“Twenty Seven Strangers” probably is one of those tracks that I’d include on mixtapes for the rest of the year.  It features a polite strumming, and a bit of an echoing hum serving as a semi-chorus.  O’Brien’s vocal delivery is so calm and focused that encourages you to sneak inside yourself in order to appreciate the narration.  And, when his voice finally rises in the middle of the song, its clear that he’s constructed another wonderful track. Such is the work of a great songwriter.

You’ll find yourself pressing repeat often during your listening experience with Becoming a Jackal.  It seems that each song has something different to offer, whether that be the approach to songwriting or to the emotional reward for the listener.  Villagers debut reminds us all that occasionally someone gets it so right that we can’t ignore their work.  Conor O’Brien’s promising (and ultimately rewarding) album will surely serve as that reminder in 2010.

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

Download: Villagers – Becoming A Jackal [MP3]

Television Personalities – A Memory is Better Than Nothing

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Rating: ★★★½☆

Following the career of cult band Television Personalities you’ll see that the band never seemed to eclipse the work on their debut And Don’t the Kids Just Love It.  All that aside, the band has continuously put out clever off-kilter pop albums since their inception, and their newest, A Memory is Better Than Nothing, is just par for the course.  The thing is, par for the course for this group never creates run of the mill pop album; they’ve always seemed one step above, despite failing to receive critical acclaim.

Choosing to open with the title track “A Memory is Better Than Nothing” is a great choice.  Slowly beginning with mainstay Dan Treacy offering up his thin British voice just before bouncing into a warm jangling pop song, all this before the song waivers off into realms of quiet.  Reminiscing about memories does seem to prove that Television Personalities will always have something glorious to hold onto, no matter how far in the past.   Then you skip ahead to “She’s My Yoko,” where once again Dan waxes about his past, mostly choosing to hold on to a relationship of the past/present.  Offering this up as the lead single was probably a smart choice, as the mixture of varying layers of keys, minimal percussion and Treacy’s voice make it appealing to almost anyone.

Nostalgia seems to dominate this album, as the subject matter never seems to stray from lessons learned, precisely as it does in “Walk Towards the Night.”  Treacy is still talking about his relationship with an unnamed partner, and the gentle strumming provides an excess depth to his emotions.  But, just as you begin to feel comfortable with the feel of the record, “Funny He Nver Married” comes on through your stereo.  Treacy sings differently here, almost entirely in a way you’ve never heard from him before, his voice floating very lightly over cuts of guitar moving in and out of the song itself.  It’s simply a nice little break from the band’s bread and butter.

One of the greatest attributes of the group pops up on “People Think That We’re Strange.”  They use the most simplistic lyrics and coat them in feedback and steady drumming, but you find yourself drawn into the depth of the song, whether or not that depth actually exists at all.  Their ability to absorb you into the music has always been one of their gifts, and the same formulaic approach can be seen in their past works, as well as on A Memory is Better Than Nothing.  “You Don’t Want Me” uses this formula perfectly, with soft strumming accompanying Treacy as a more pronounced guitar line is layered over the entire song.  It’s nothing special, but listening to it definitely creates an overwhelming level of emotion.

Closing moments offer some interesting moments to boot, such as “The Good Anarchist,” which uses a lady for the lead. Featuring a female vocal is not something entirely new from the song, but it stands out on this collection of songs, as its the first time you find such a prominent female appearance.  It’s all bookended by slower moments than the rest of the album, and it does provide a moment to pause and reflect over what you’ve just listened to through these past thirteen tracks.  I’d say listening to Television Personalities is an acquired taste, but it’s one that I feel should be acquired by all.  If you’re looking for a band to adore, then take a listen to A Memory is Better Than Nothing, then go revisit all the stupendous work in the band’s catalog.

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

Download: Television Personalities – Funny He Never Married [MP3]

Wild Nothing – Gemini

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Rating: ★★★★☆

A lot of people work their whole life struggling to make music a life pursuit, switching bands, touring and such.  Often times it comes to nought, but occasionally it leads you on a path of your own.  Such is the case for Jack Tatum, the man who composed the music under the moniker Wild Nothing.  His debut record Gemini is something of a hidden gem; it’s not overstated, yet there is a quiet beauty that lies beneath it all.  Such is our luck.

Instantly you can tell that this album is going to be accompanying you on those days when you’re lost in your own mind, as the ringing guitar sounds, reminiscent of New Order come in real low and soft.  Tatum’s voice enters the picture in a similar manner, resting lightly atop the steady percussion and guitars.  You can feel yourself lost in thought as the song plays into the next, “Summer Holiday,” which has a very similar appeal.  Here you’ll find a more upbeat pace pushing you along, and female backing vocals that add to the overall layering of the song.  It’s as warm and soothing as the title suggests.

While the first part of the song features some prominent guitar work, other aspects of Gemini are filled by electronic loops that provide a different sensibility to the record. Take “Bored Games” as an example, with a vibrant guitar wash splashing against the electronic beats.  It pushes the songs in a bit of a speedier direction, which is contrasted by the rest of the sound breezily pushing against the beat to a wonderful effect. Still, the nostalgic musical references mixed with current fads such as warm washes over the vocals is where Wild Nothing earns its paycheck.

“My Angel Lonely” has some dark undertones that exist outside of the title itself.  Echoing effects used on the vocals, along with that chiming guitar, give it a haunting sensation.   Once again, as the wash effect billows in the background you find yourself in a state of bewilderment, completely absorbed in the song.  Yet a few tracks later you find a somewhat stomp of electronic happiness fused with angular guitar lines walking beneath.  Perhaps it might encourage you to circle about your room, but if not, you’ll at least have a slight boost to your step as this song comes through your speakers.  This is just an example of Jack Tatum’s ability to mix things up, all the while staying in a range where he feels comfortable.

Stay tuned in until the album draws to its close, as you surely won’t want to miss the final moments of “Our Composition Book” and “Gemini.”  This one-two punch is surely as rewarding as the rest of the Gemini, which really proves the point of our discussion here.  Throughout a career as a musician it finally seems that Tatum has found his calling with Wild Nothing.  It’s a creative album of melody and beauty to get lost amidst, which is all we really need sometimes from our favorite records.

[audio:https://austintownhall.com/wp-content/uploads/2010/06/02-Summer-Holiday1.mp3]

Download: Wild Nothing – Summer Holiday [MP3]

Sleigh Bells – Treats

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Rating: ½☆☆☆☆

Sure, you could say that we’re a little bit late on getting into the whole Sleigh Bells Treats hype, but we do have our reasons.  The first one is that the album didn’t actually make it out until today.  Our second reason is that we’re (ATH) just not into it at all, and we haven’t been for quite some time (since the beginning to be honest).   The question for most of you will be can we legitimately rally against this album with substance rather than just go against the grain.

First, let me get the fun factor out of the way.  I see that some people might find this an enjoyable record to listen to while they’re prepping for the evening, and I respect your right to feel that way.  But, I’m not sure where the fun is being generated from.  Opening track “Tell Em'” has some watered down arena rock power chords thrown in there, and the beats are probably one of the more annoying things I’ve come across, not to mention the fact that they aren’t interesting in the least bit.  Perhaps it’s the banging beats that resemble some sort of cheesy radio-friendly single, or the fact that her vocals in some part greatly resemble MIA, who I’m personally not into either.

Speaking of lacking originality, my main factor for hating this band is their blatant rip off of The Kills.  I promise you that if you were to go and listen to the construction of the songs, you would notice some striking similarities.  For instance, take “Infinity Guitars” then go listen to The Kills “Alphabet Pony.”  It’s far too similar for this to be merely a coincidence, and since Derek comes from a sort of punk background, he’ll likely know about Alison Mosshart if he knows his history.  Instead of the dirtiness of The Kills, Sleigh Bells is using a more metal guitar sound, and what sounds a lot like reggaeton dance beats (the uninspired ones).  Personally, neither of those attributes really instills any emotions within, and despite being awfully loud, the musical sounds just aren’t really progressive enough to catch my attention.

And at time, Alexis is just moaning or making grunts into the microphone during the entirety of songs, such as “Rachel.”  I’m not sure how that qualifies as fun or enjoyable, but I know a lot of people out there who seem to be enjoying it.   Really, the most disruptive thing about Treats is the fact that I feel like I’m in some high school gymnasium preparing for the big homecoming football game against our bitter rivals.  Alexis is that annoying cheerleader you all think is hot, but you  probably hate (not that I hate Alexis, or know her even), who just yells to pump you all up while you stomp your feet on the bleachers.  How is that interesting?  I hated pep rallies, and having to endure an album’s worth of pep rally is just far too much for this listener.

So, in conclusion, you should go listen to The Kills (they’re far better).  You’ll love Sleigh Bells (or hate them) for all of about ten minutes of Treats before you realize that it’s not really fun, and in fact, its quite grating.  There are better bands that use electronics and guitar parts for a far more creative output.  Then again, this is all just one man’s opinion, so please don’t take offense.  You’re allowed to like what you like, and I’m allowed to have my voice, so let’s leave it at that, remaining friends forever.

**Note** This review is in no way sponsored by The Kills or approved by The Kills.

Beach Fossils – s/t

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Rating: ★★★½☆

During SXSW we were treated to an amazing live show by Beach Fossils, and we finally have their self-titled debut to back up all that hype.  The record is full of surf-infused jangling guitars and simplistic drum beats, all which make this the perfect album to listen to while you’re being active around the house, or just looking for something great to jam out to with your friends.

As soon as “Sometimes” comes in through your stereo you’re introduced to the band’s sound.  Guitar chords jangle and snake their way through the song, while the drumming provides a bit of an extra kick to the song, giving it just an extra hint of spring.  Vocals wash over the song, while more vocals wash over the vocals.  “Youth” doesn’t do too much to distance itself from its predecessor, though you’ll find that the second track does have a bit more sway, mostly due to the pacing of the percussive element.

“Lazy Day” is the first song on the record that takes a different bent, although none of these songs sounds exactly the same.  Here, you’ll find a bit more of a hollow sounding vocal, which actually sounds perfect with the way that the guitar seems to ring in the foreground.  The echo-y vocal effect is used again on “Daydream,” though a slower delivery affects the listener in a different manner. You’ll have to listen to the battle between the feuding guitar lines, and its only then that the drums will make themselves evident, as they seem so low in the mix here that you almost miss them.

However much this album does seem to run together with its similar sounds, Beach Fossils do just enough to differentiate between the tracks.  “Window View” carries on the themes of observation and dreaming that are present throughout the record, but a slower pace entirely seems to actually have the listener looking out the window as this track plays in your house.  You can still feel the roots of the band’s sonic pallet here, but it’s just a bit left of that, giving the record a bit of room to breathe.  Then you go right back to the band’s bread and butter with “The Horse.”  It’s got a ringing guitar, a coated vocal, and a bit of a bounce to it.  It would be interesting to see where the band’s sound could go if they had the addition of legitimate percussion.  Not saying the drums don’t serve a purpose on Beach Fossils, but the creative notches could be turned up a bit, pushing the band’s sound even further.

Listening to Beach Fossils over and over again might get a little bit tiresome, but they’ve lived up to the promise they created this year with their live shows.  They’ve crafted an album full of charm and melody, presented in their own distinctive fashion, which inevitably will find their way into your daily listening rotation.  A few key ingredients missing keep this album from being incredible, but don’t hold that against Beach Fossils, as it’s a record worthy of your summer listening parties.

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

Download: Beach Fossils – Youth [MP3]

Jeremy Jay – Splash

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Rating: ★★★★☆

2010 is going to be a busy year for Jeremy Jay.  His first album of the year, Splash, is just being released, while there is another album slated for release later in the year, not to mention his work on the movie Belle Epine.  Will all the work distract his natural knack for writing amazingly introspective pop numbers?  By the sounds of this album, Jeremy is still going strong, and he shows no signs of slowing down.

JJ begins the album with “As You Look Over the City,” which one can assume is his own personal narrative about his recent move to London, demonstrating his ability to approach the subject matter from third-person.  His guitar never seems over-bearing, and the accompaniment by his band always seems perfectly fitting to his deep croon.

While many will accuse Jeremy of staying in the same vein as his last two albums, there are definitely differences.  Point of evidence one: “It Happened Before Our Time.”  This is the first time he’s really messing with his vocal delivery, changing the pitch and the tone, both going a long way to evoke the mood of the song.  When his voice lightly echos in the background of the song, you can tell that he’s really pushing the boundaries of what he can do.  Then you have the second piece of evidence, ” Splash,” which has a quicker paced guitar line, sort of reminiscent of a more nostalgic version of The Thermals.  All the while his voice lands quietly atop his music, as it always seems to do.

One of the best things about Jeremy Jay is that while he sounds so familiar, he definitely has a taste all his own.  You can see his constant form of wondering, especially in the way that he writes his lyrics.  Take, for example, “Someday Somewhere,” where the chorus itself evokes that sense of search, or that sense of longing for something. He’s often in his own world, dancing around, using that speak-sing approach that was made known by his mentor of sorts, Calvin Johnson.  You combine that approach with his lyrics and you are left wondering, but in an involved sort of way, as listeners should be.

Everything about Splash really does sound familiar, but as the album takes a turn near the end, starting with “Why is This Feeling So Strong,” you get the feeling that Jeremy Jay is about to make his move; at times it almost feels as if he’s about to let loose a power chord to just blow you away, yet as always, he refrains.   He’s got one more album coming out this year, and the way he’s pushing his sound, who knows exactly where that record will end up, but we can only hope that he continues to put out consistently enjoyable collections of songs such as this.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/01-As-You-Look-Over-The-City.mp3]

Download: Jeremy Jay – As You Look Over The City [MP3]

Cats on Fire – Dealing in Antiques

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Rating: ★★★★★

Just a disclaimer, this is a collection album, including rarities, B-Sides, covers and a new track, all of which date as far back as 2002.  That being said, Cats on Fire is probably the one band that deserves your attention that you’ve possibly overlooked (mistake!).  If this is the case, then Dealing in Antiques is a great starting point, a place to find your footing as your obsession begins to grow.  For those of you already in the know, you have to be ecstatic to have access to these wondrous tunes.

You’ll know immediately that this group is willing to go out on a limb, as the being this collection with “Your Woman,” a cover of the hit by White Town. Still, keeping true to their form, there is a bit more of a jangle in the chorus guitar chord, giving more of a smooth bounce than the original provided with its club-banger tendencies.  They then lead you into 19 more tracks, each one worthy of your careful listening ear.

“Poor Students Dream of Marx” establishes the band’s sound as far back as 2004, and we’re lucky that they had such foresight to see their own greatness, even so early on in their career.  Personally, the way the guitar is played throughout the entire song just really gets me, especially when it picks up speed and difficulty.  Steady percussion keeps pace, allowing the guitar to cut in and out of the song, all of which accompany Mattias Bjorkas voice (imagine Morrissey-mixed with Jarvis Cocker, except more of a warmth tone as opposed to blatant sexuality).

However, not a band to be pigeon-holed, the group offers tracks like “Something Happened.”  There’s a bit of a gentle strumming along the guitar here, yet it all has a more country feel, almost folk-ish, showing that the band isn’t all about pristine jangle pop (though they knock that genre out of the park).  They immediately follow that with “On His Right Side,” which is one of those tracks that exhibits the beauty of this collection, as understated piano walks quietly in the background of Bjorkas and a heavily strummed guitar.  As Bjorkas reaches for that falsetto, you can’t help but to tingle just a bit; these are the sorts of moments that create cult followings.

As much as you’d liked to ignore the Morrissey similarity between Bjorkas and the man himself, a song like “You Will Find Me Where You Left Me” does definitely bring the aged crooner to mind.  Yet, there is a certain solemnity to the way Mattias sings throughout this song, as if he’s not seeking your understanding, merely evoking his own personal sentiment.  “Honey Your Baby” probably doesn’t do much either to distance Cats on Fire from The Smiths either, yet you have to really leave all that aside, as the sharpness of Marr is not quite as present here, instead replaced by a warmer, gentler guitar.   If you ask me, this is where the band achieves their bread and butter, asking you to fall in love alongside the record, rather than to merely listening to a story of another man falling in love.

Really, if you want a perfect record, this is probably as close as you can come.  You’ve got your jangle pop tunes, as previously mentioned, yet you’ve got slow burners such as “They Produced a Girl,” one of the band’s earliest songs on this collection.  The vocal quality is a bit dense, but its the perfect juxtaposition to the rest of the record, showing how what was rough merely needed a bit of polishing before creating gem after gem.  And to close out the record, they offer a new track, “The Hague.”  One listen to this track will make you salivate immediately for the next album, as this one surely isn’t enough.

If it weren’t for great little labels like Matinee Recordings, many people would probably not have the access to Cats on Fire, which would be tragic.  Listening to Dealing in Antiques gives the aura of a band beginning an enduring cult following.  You want all your friends to love this album, yet at the same time, you feel as if you’ll lock these tunes away forever.  Such is the way a quiet legacy is built, and such is the one you have before you after looking through the closet of this wonderful band from Finland.

[audio:https://austintownhall.com/wp-content/uploads/2010/02/cats04.mp3]

Download: Cats on Fire – The Hague [MP3]

The Depreciation Guild – Spirit Youth

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Rating: ★★★☆☆

While many of the indie rock followers will surely be all about The Depreciation Guild due to the main gig of its two core members, that being The Pains of Being Pure at Heart, that’s about the only similarity.  Sure, the mood of the music, and a bit of the texturing due share a close proximity to their other band, Spirit Youth steps out of the shadows and into its own space.

Electronic beats open the album on “My Chariot,” which is just an indicator that Kurt and Christoph (PoBPA touring guitarist) have a map all their own to follow.  Musically, it has a lot more of a bedroom aesthetic to the vocal quality than one would come to expect.  It’s really reminiscent of the same sort of vocals you heard on many of the more pop friendly albums of the early 90s.  It’s the same ground they’ll live in on “Crucify You,” and the dynamic doesn’t do much to distance itself.

But, in a sense, they mix it up on “Blue Lily” by opening up with a more prominent guitar piece.  Then almost immediately they bring in the warmth by adding the vocal texture.  Here you might see that often the vocals are a tool, never really stepping out from the instrumentation.  But, the guitar definitely serves its purpose in the background of the song, and that might remind some of Republic-era New Order, though a heavier atmosphere hangs over these songs.  This is the sort of place that it seems The Depreciation Guild hangs their hats.

Almost every song from here on out fuses a little bit of careful programming with guitars that ring out through the far off horizon of the song.  At times, such as in  “Trace,” those little parts really hang there, creating a dense electro-guitar collage of atmospherics, but without the vocals to brighten the moment, these songs really just seem to hang in air for the most part, almost like a pop-oriented fog. Don’t get me wrong, however, there are a few moments when the beats really do the song justice, like in “A Key Turns.”  A calm mood established itself early, and every noise on the song, including the vocals, is accented by the beats (the most creative on the album thus far).  It makes the perfect song for sitting outside as a storm drives itself into your town.

Oddly, there are a few heavy moments, or at least heavy in regards to the general sound of Spirit Youth.  The albums title track and “Through the Snow” have the benefit of harder hitting guitar pieces.  While the band manages to keep that quiet sensibility here, the chords of the guitar bring in a heavier punch, changing the overall quality of the tunes, and in fact, making them rising above the rest.  It would have been nice to see those numbers placed randomly earlier on in the album, rather than slotted in near the end.

All in all, Spirit Youth is an enjoyable listen, albeit one that does tax the listener a bit.  You’re caught in a world, unsure of whether or not you want to try and unravel the key to the lyrics (which are quite good) or just immerse yourself in the depth of sound that The Depreciation Guild have presented you with here. It’s not an easy choice, and that’s probably the biggest fault with the album: you have to make a choice on which instrument is the most important to follow, music or vocals.  Still, stepping out of from The Pains of Being Pure at Heart is never a bad thing entirely, especially when you can craft generally heartfelt songs that will keep you glowing inside.

[audio:https://austintownhall.com/wp-content/uploads/2010/04/02-crucify-you.mp3]

Download: Depreciation Guild – Crucify You [MP3]

Band of Horses – Infinite Arms

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Rating: ★★½☆☆

The week of May 16th features several artists, long considered favorites by many indie rock fans, returning to the fold with new albums.  Not only is Band of Horses coming back with their new album, Infinite Arms, but they are also coming in with a new record label, having completed their agreement for Sub Pop.  Would the change signify a distinctive shift in sound, or would we get more of the same?

On the opening track, “Factory,” you get the since that things haven’t changed too drastically since the last album, Cease to Begin.  It’s got that slow paced Americana, expanded by the addition of string arrangements, and accompanied by Ben Birdwell’s exquisite vocals.  He’s got something in the way his voice seems to fall off with just the tiniest vocal inflection, and it always gets me.  Similarly, one of the other singles, “Laredo,” approaches the most-rocking moments of the album, with a steady percussion beat creating the backbone of the tune.  Oddly, the melody and the structure seem super-connected to “No One’s Gonna Love You” off their last record, but then again, even with Birdwell’s strong vocals, the band does have a tendency to blend into itself.  Still, this is a bit of re-hash in these eyes.

From here Infinite Arms takes a jump into a more folk-driven sound.  Pace is slowed down a bit for numbers like “Blue Beard” and “Infinite Arms.” Each song has some gentle strumming, and the latter sound has some recording effects that give you the feeling that it was all recorded in some backwoods area.  Don’t get me wrong, these songs have some strengths, particularly the recording of “Infinite Arms,” but there just isn’t some grand statement that is being made.  In the past, there was always a Band of Horses track that made you wonder why this band wasn’t absolutely huge.  Everything comes off really mild-mannered, and for some that will be a bit disheartening.

Give or take two tracks (“Dilly” and “Northwest Apartment”) the record really kind of stays in the vein of slow-core Americana.  Honestly, this is probably the disappointing element.  Yes, they always dabbled in folk elements, but nothing quite like the woodsy “Trudy.” It lacks lyrical depth as well, but that’s sort of par for the course with this collection of songs.   Where is the balance of swirling melodies that raise into the heavens, only to crash down in some sense of quiet?  It’s not there at all, and in fact, the most rocking you get on the latter half of the album is “Northwest Apartement,” aptly named for its blatant Built to Spill sonic allusions.

Don’t get me wrong, as Infinite Arms is a pleasant enough record.  There are a few moving tracks that will still do enough to satisfy old fans, but then the rest of the record really feels like the group is just sort of treading water. Band of Horses seems to have run out of ideas, or in changing directions, the group doesn’t seem quite as confident as they once did.  All this make for an uneven record that suffers from a general enthusiasm, but that could just be my own lackluster thoughts after going through this album hoping to find one more great gem.

[audio:https://austintownhall.com/wp-content/uploads/2010/04/01-Factory-1.mp3]

Download: Band of Horses – Factory [MP3]

LCD Soundsystem – This Is Happening

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Rating: ★★½☆☆

It’s really hard to imagine the 00s without James Murphy.  Whether he was bringing Daft Punk to your house, or whether he was manning the boards for someone else, it seems like Murphy was always around.  Now we come to what he is calling the swan song for LCD Soundsystem, This Is Happening.  Will it be enough to leave us with lasting memories of fondness, or will we turn towards indifference as his star begins to fade on the horizon.

“Dance Yrself Clean” begins the record, and while it could be a whole lot stronger, this isn’t the worst way to begin the new album. It begins with just some minimal percussive elements, which go on for what seems like an eternity, while lyrics are sort of spoken, as opposed to sung.  At the 3 minute mark, the song turns into a club banger.  While you can appreciate the development of sonic textures that Murphy has placed emphasis on with his last two album, one can’t help but feel that getting straight to the point would have left the record to start with one of his best complete tracks.

You jump right into the single from there with “Drunk Girls,” which sort of seems like a haphazard song.  The beats seem reminiscent of songs past, while the lyrics don’t really offer too much, no matter how many drunk girls you claim to know.   And from there you go on to “One Touch;” yet another song that doesn’t do a whole lot to further Murphy’s credentials in the musical annals of time.  Sure, showing the masses you can make a dance song go for 8 minutes is something to tip your hat to, if the song doesn’t do too much, it all seems irrelevant, and such is the case here.

But, then LCD Soundsystem takes you for an entirely different ride.  “All I Want” doesn’t seem to far of a stretch from some of the more exploratory tracks on Sound of Silver, and you can really find yourself sliding inside this song despite a the length and a touch of redundancy. “I Can Change” follows suit with a bit more exploration, and even pushes the dancier side of the things.  Murphy’s vocals don’t come off in that shouting chant he’s usually known to release, and it creates a joyous song that brings back the nostalgia of bands like Depeche Mode and OMD.

Then, he takes a U-turn, and sort of goes back on the promise of the last two tracks.  “You Wanted a Hit” has some redeeming qualities towards the middle of the song, and while I appreciate his stance on not trying to make hits, choosing instead to follow his own path, I’m not sure he always chooses the best options, especially when he has such quality tracks to offer, as he did in the middle of the This Is Happening. Don’t even get me started on “Pow Pow;” I think I’m owed an extra amount of time in my life just for listening to this track.  Ugh.  “Somebody’s Calling Me” just continues the downward slide from there.  It just seems like he could have done so more, and at time, the song just sounds like even James himself was bored with writing it.  Then again, that just might be personal taste.

Then he comes back with “Home” to close out the album.  It has a bit more of a singing vocal here, and the beat has this underlying hook that sucks you back into the album.  If you add the length of the song, you can clearly see what kind of dance party ensues here, and that’s precisely what you wanted from This Is Happening.  Unfortunately, the brightest spots on this record don’t really break through the inadequacies of the rest of the tracks.  Personally, it seems like such a shame, as the last decade wouldn’t have been nearly as much fun without having LCD Soundsystem in our lives, and perhaps this is why he’s walking away, as James Murphy hasn’t convinced anyone with this effort that his heart is still in it.

[audio:https://austintownhall.com/wp-content/uploads/2010/04/LCD-Soundsystem-I-Can-Change.mp3]

Download: LCD Soundsystem – I Can Change [MP3]

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