Tag: album review

Juan Wauters – NAP: North American Poetry

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juanwautersRating: ★★★☆☆

Juan Wauters is best known for his work with the Beets, but he’s stepping out now to make a name for himself.  His first full-length, North American Poetry, builds on his songwriting, but still bears the mark of his previous work.  There’s some hits and some misses, but those hits are definitely worth your undivided attention.

If you’re just now encountering Juan Wauters, I’d advise you to skip “Let Me Hip You to Something.”  It’s not a bad song by any means, but the vocal performance might not be the best introduction; you should come back to it later once you have a finer understanding of Wauters. The next two tracks, however, are must listen destinations.  I love the chugging power of “Sanity or Not,” which might bear a resemblance to a lot of modern garage-pop tracks, though the guitar playing provides an emotion that evokes a sense of traveling.  Then “Lost In Soup” offers a slower version of Juan’s goals, using interesting lyrics to keep things playful, while driving home a strong melody listeners will find endearing.

I think one of the great things about listening to North American Poetry is that the majority of the songs are fairly short, so you get a fresh spin with each song; it makes the songwriting last longer, as  it can get stuck in one place, stylistically speaking. “Woke Up Feeling Like Something” again has that familiar Wauters’ guitar chug on the tune is familiar, presented in earlier tunes on the record, but the “oohs” and the careful way he delivers each note are just right for this number. Then there’s “All Tall Man Will Fall,” which feels more like a poetry experiment fitting with the album’s title.  This is one of the distinctive touches of Juan’s music; he keeps things playful lyrically, using various syllabic inflections to impact the message.

The last few tracks do get the extra benefit of including the voice of Carmelle.  Her performance on “Breathing” alone makes the song rise above some of the previous tracks; differentiation can always add so much to a record’s collective spirit. Similarly, “How Do They All Do” uses Carmelle, though there’s a slower pace to this number.  Personally, I think the album would have been more successful as a whole if these two tracks were spaced out, rather than stuck right next to each other at the end.  Her voice is vital, however, fitting in seamlessly with the songs Juan presented her.

In the end, I find that I enjoy most of the tracks on North American Poetry.  I love the lyrical playfulness, as well as the heart of the songs themselves, but that being said, at times the album gets stuck in one place.  Had the appearance of Carmelle been scattered, it might have added just the right touch to make Juan Wauters solo debut a great listen, rather than just a good listen.

[audio:https://austintownhall.com/wp-content/uploads/2014/01/04-Escucho-Mucho.mp3]

 

Quilt – Held In Splendor

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quiltRating: ★★★★☆

While the masses revisit the soul of the sixties, the sounds eventually blend together, leaving you with more of a rehash effort than a remaining, but on Quilt‘s new album, Held In Splendor, they make those nods, but they incorporate a more expansive palate, creating a more diverse sound that’s wholly their own.

You’ll start your journey with “Arctic Shark,” which comes across as a sexualized stomp with Anna Rochinski taking the vocal lead.  You can imagine her swaying in front of a field of friends as the sound of sitar enters the picture, but it’s her flowing melody that really takes the focus.  Interestingly, the band are just incorporating bits and pieces of their influences, rather than over-indulging.  You’ll hear that unfold even more as Held In Splendor moves forward with “Saturday Bride;” the harmonizing alone makes the song worth your time, but it’s the restraint shown in the psychedelia that allows you to see that they’re not willing to allow their own personalities get carried away in reminiscing.

I think one of the most successful pieces of the Quilt‘s composition is that they keep songs short and sweet, with the majority of the tracks living beneath the 3 minute mark.  Songs like “The Hollow” are short and to the point, yet they’re actually filled with multiple musical movements within. This track begins as a bit of a casual poet’s ballad with intricate guitar playing being enforced by string arrangements, yet the pace is adjusted as the drums push the song forward just a bit.  These mini-movements are what allow the group to keep their music impactful, without wearing you thin with too many historical references.

Personally, I think my favorite tracks are those with a traditional balladry to them, such as “Eye of the Pearl” and “Talking Trains.” The former is a steady number with a great vocal performance, emphasized by a nice backing vocal that’s draped directly atop the main vocal.  And while the latter is a ballad, the guitar has a darker tone, which is more fitting for Rochinski’s vocal performance.  Both songs represent the fact that simplicity often requires more skill in order to make the songs standout, and in the case of these two songs, it’s true.

While the genre of psychedelia and paisley-influenced jams allows many of us to revisit our favorite musical era, the realm of that genre can often get tired and wearisome, treading over itself far more often than going in new directions.  That being said, Held In Splendor doesn’t get bogged down in nostalgia, instead using it as a launching off point for Quilt‘s dynamic songwriting process. It’s a listen draped in history, but pushing us forward towards a new future…you’ll like where you end up.

Doug Tuttle – s/t

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dougtuttleRating: ★★★½☆

What does one do when the project they’ve devote their time to dissolves?  For Doug Tuttle, there was only one option: forge ahead.  His self-titled effort is his first effort since MMOSS broke-up, but in all honesty, it’s ultimately more rewarding than his previous work; he seems to have found his own way while writing these songs.

“With Us Soon” takes listeners back a few decades with a sun-coated psychedelia, accented by an instrumental buzz that works its way in and out of the track.  But, most importantly, the underlying current is one of a pop-centric songwriter; this attitude will unfold further as your listen continues. While the following tune “Forget the Days” does wear some of the influences of Doug Tuttle‘s past, including the throbbing bass work, it’s the way his voice drifts carefully over every inch of the song, lightly bouncing along and giving a warmth to the listener’s ear.

Tuttle doesn’t shy away from his past too often, with most songs including the dreaded psych nod, but even when the song indulges a great deal, there’s clearly something working beneath.  “Turn This Love” is filled with a noodling guitar that perhaps goes on solo for too long, but the chorus alone warrant many repeated listens.  It’s a dreamy vocal that you’d easily find haunting any music head’s secret play list.  Of course, those indulgences do go too far on occasion, like in the following track, “Where Your Plant Love Is…Where It Grows.”  What can I say? I’m a vocals guy, and it just doesn’t do it for me here.

For my tastes, Doug Tuttle does succeed when he lets his inner songwriter shine, making things simpler and more focused.  My favorite track is “I Will Leave,” which comes near the end of the effort.  There’s a simple sincerity to the track, with just a hint of California jangle seeping into the guitar.  The vocal is steady, showing just what a voice Doug’s got, and possibly hinting at the future. There are hints at his songwriting prowess throughout, especially with a song like “Better Day” wrapping things up, so the record really ends on a high-note, closing with a wonderful 1-2 punch.

I imagine it’s hard to leave your past behind, and it’s clear that Doug Tuttle just isn’t there, and maybe he doesn’t need to leave it all behind.  He takes all the bits and pieces of his previous work while weaving a narrative of his own.  It’s a self-titled record that’s strong from start to finish, and far more than just a record wearing psychedelic influences.  You’ll love the melodies and the craftsmanship, and you might find that Doug Tuttle is the only thing you need right now.

Growl – No Years EP

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growlRating: ★★★★☆

Austin, Texas has a lot of things going on musically…it’s got psych, garage, indie pop, but it’s been lacking a great guitar rock band.  Well, Growl aims to change that by releasing the really powerful and melodic No Years EP.

“Afra & Me” immediately kicks things off with some dueling distorted guitars working against each other.  But, when they join to bring the vocals into the mix, they’ve got an incredible force that really makes a lasting impression on the listener.  Think Surfer Blood if they made a more mathematic rock tune; these dudes are better. Then things get slowed down just a touch for “Yacanlu,” which is a song that really relies upon the vocals to propel the song; it’s good to let the focus shift from musicianship to vocal prowess, and in that area, Growl excel.

“Buffalo” is one of the tracks that really stands out to me on my run through of the record.  In the beginning the guitar noodling in an angular manner really lets you sink your teeth into the track, then the vocals and their drawn out soaring syllables provide you with that moment you’re always looking for in a good rock track: singable moments.  It’s definitely a youthful vibe.

The latter half of the No Years EP is still devoted to the guitar, though the lighter-fare.  “Going Blind” has incredible hooks built in to surround the listener with a feeling of joy.  There’s a stomping sensation inserted with “Review,” which is a fitting return to the band’s more riotous sounds; it’s filled with crashing cymbal work and ringing guitars that are built to break down your eardrums. Then it all ends with the well-constructed long-burner, “Rosie.”  It begins rather casually, with a softer side showing through (and the vocals remind me of Very Emergency-era Promise Ring), but they blast off with the chorus, really breaking things open.

We thought when Growl released their Gallery EP that they were off to a really good start, but they’ve made an EP that begs for you to listen to anywhere you please, just as long as you aim to have a little fun.  Get the No Years EP, turn it up loud, and remember what it’s like to rock out.  Good to know Austin has a voice for great guitar rock.

[audio:https://austintownhall.com/wp-content/uploads/2014/01/1-Afra-Me.mp3]

Gem Club – In Roses

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In Roses CoverRating: ★★★☆☆

Rarely do musicians nowadays set out to make grandiose pieces of art. Some hide behind the guise that they’re breaking new ground or that they’ve been waxing nostalgic, but they often skip out on attempting at the loftier side of crafting beautiful pieces of art.  That being said, Gem Club have done just that with their sophomore release, In Roses; it’s an ornate and carefully constructed piece of majesty.

The Massachusetts act opt to open up with “Nowhere,” an instrumental piece that effectively build the mood by draping atmospheric textures atop one another.  It sets the stage perfectly for the listener’s entrance into “First Weeks,” which opens immediately with a softened piano line.  Soon, Christopher Barnes answers the call to the stage, entering with his lofty voice, accented by the careful string accompaniment the group has employed since their inception.  It’s a somber tune, fit for gazing out your window on a cold wintry day; I especially like the fuzzier moments in the recording as the song walks away towards its close.

In Roses often lives on the softer side of chamber-pop, so that might worry some who don’t have the time to sit and listen to the details of the world.  But, in songs like “Michael” there are these moments where Barnes’ voice collides with cello and woodwind accents to glorious effect.  Similarly, on “Hypericum,” there’s a percussive heartbeat haunting the background as dark tones are carefully pounded upon the piano.  These are surely artistic details that many people choose to overlook, which sadly makes music like this harder for people to create.  What’s the point when your greatest addition to the musical lexicon goes unnoticed?

Sure, it’s difficult to absorb in today’s quick paced lifestyle, but creative efforts like this one from Gem Club are ultimately what make music so rewarding.  Movements sweep into new movements within the same track, and voices unite in harmony; these things remain impactful hours after the music has stopped playing.  Just take a listen to a song like “Soft Season,” and ask yourself why there are so few artists creating these incredibly lofty pop constructionist tracks.  This is one of several songs within this album that have chased through my mind, even after several listens.

Admittedly, In Roses is not the sort of record I can come back to time and time again; it’s far too unique in that manner.  It requires special attention to its every detail and touch; it begs for the listener to devote endless hours to playing it over and over again.  Most would call it an arduous task, but if you’re willing to give yourself over to Gem Club, then they will push you towards places, emotionally speaking, that you might not visit enough; you’ll be eternally thankful to the band for giving you such a rare opportunity…and piece of art.

[audio:https://austintownhall.com/wp-content/uploads/2013/10/Gem-Club-Polly.mp3]

Download: Gem Club – Polly [MP3]

Jess Williamson – Native State

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jesswilliamsoncoverRating: ★★★★☆

It’s been a pretty great few months for Austinite Jess Williamson, with press clamoring to hear her latest album, Native State in its entirety.  Listening through, the hubbub is definitely justified, as a great deal of musicianship is accomplished in a short span of seven songs.  Those that devote time to the record will be rewarded with an album both thoughtful and well-crafted, giving you a listen that you’ll come back to again and again.

The longest song on Native State, “Blood Song,” opens things up, seemingly developed in the Western frontier of Texas plains.  The tone of the guitar seems distant, in an enduring sense, forcing the listener to focus closely on the soft release of Williamson.  As slide guitars echo in the distance, there’s a rising tension that seems to build, increasing the emotional investment of the listener. It’s a song that leaves you drifting, mentally, carried away on the winds of Jess’ songwriting.  And, things only begin to get better as we move into “Native State,” which takes on a more traditional folk aspiration centered around a banjo. For me, the vocals are what steal the show on this track, as there’s a faint hint of a quiver; I’m a sucker for the fragility of a good songwriter.

While many of the songs Jess Williamson presents here seem offer up a look at the artist, naked and honest, there’s a few tracks that really are perfectly fitting for providing the sound scape to a road trip or a photography showing.  “Spin the Wheel” is one such song, starting off with little to no pace from the beginning.  As the songs moves forward, there’s faint cymbal touches, string arrangements, all adding depth to the track.  Yet, going forward, guitars enter the picture, cymbals create a wash of percussive waves and Jess uses her voice to propel you towards the ending.  Whether the intention was to provide an image of movement or the passage of time, the varying moments of music within, definitely provide you with that wistful feeling.

As strongly as the effort opens, it closes in just as strong a fashion, if not more so.  There’s more of a light-hearted spirit in tracks like “You Can Have Heaven on Earth” and “Seventh Song,” which definitely seem to contrast the ominous spirit of the opening numbers. For me, this serves perfectly to fit the mood I’ve associated with my listening experience.  Sure, the poetry is well-written and personal, but my emotional attachment seems to place a sense of moving on or pushing forward as you go from track 1 to 7.  Ending on a positive note is never a bad thing.

Clearly this is going to be a wonderful year for Jess Williamson.  The accolades and interest in her music seems quite justified after spending a great deal of time with Native State.  Lyrically, it offers a great deal.  Musically, you won’t be disappointed.  Do yourself a favor and immerse yourself in this listen and see where you end up…odds are you’ll be grateful you did.

[audio:https://austintownhall.com/wp-content/uploads/2013/12/01-Blood-Song.mp3]

Shy Boys – s/t

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shy-boys.2Rating: ★★★½☆

A lot of the press leading up to the first release from Shy Boys  centered around the band’s home of Kansas City and their lack of mastery on their instruments.  Perhaps that’s a good place to start, but isn’t it just the music that ultimately matters?  If so, then the Shy Boys are off to a great start.  Imperfections do exist on this self-titled effort, but they make the most of those moments, turning those inadequacies into gems.

“Is This Who You Are” kicks the album off in the right way, using a deep-toned guitar line to really build the emotion for the listener, but then things fall quiet for the vocals to make their introduction; they’re perhaps a bit too soft building to the chorus, but that chorus is supremely rewarding.  Shy Boys then slide into their ode to the Beach Boys with “Keep Me On My Toes.”  The harmonizing here is something quite special, almost perfect, but then the song abruptly ends; I could have used a few more minutes.

When going back through the whole album, I find myself gravitating to songs like “Bully Fight” and “And I Am Nervous.”  The tones of the guitar is right up the alley of my personal tastes. Not to mention both tracks alternate between the soft/loud dynamic, with really warm melodies; these are the kind of moments in your listening experience that will reveal themselves to be ultimately rewarding, even if you notice a few moments that seem off-key.

Of course, you can’t take a listen to Shy Boys seriously unless you dive head first into the hi-hat propelled gem that is “Postcard.”  It’s the apex of the record, which unfortunately means that the latter half of the record drags just a slight bit. The songs definitely have a draw in the way they’re constructed around the melody, but they’re definitely a look into the softer side of the group.  Listening through, I don’t mind these tracks at all, and in fact, really enjoy “Trim” as a closer, but there’s definitely a noticeable change in the closing energy.

Despite whatever faults lurk in the hidden folds of this self-titled release, it’s clear that Shy Boys do have a knack for songwriting.  That should make this the jumping off point for what we all hope will be a nice career, as these tunes are just too good to simply ignore.  I have a sneaking suspicion that this one’s going to keep creeping into my own play lists as we go through the year, and if longevity works for me, I hope it works for them too.

[audio:https://austintownhall.com/wp-content/uploads/2014/01/4-Bully-Fight.mp3]

Download: Shy Boys – Bully Fight [MP3]

Painted Palms – Forever

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foreverRating: ★★★☆☆

When you’re given the personal stamp of approval from Kevin Barnes that becomes a pretty big deal, but it’s how one lives up to those expectations that really cements a group’s legacy.  Throughout the duration of Forever, you can hear what Barnes saw in Painted Palms; the record is brimming with melodies and hooks, making for a strong debut.

“Too High” opens up Forever, with this pulsating electronic beat before the playful vocals jump into the fold.  It’s a track that rests during the verses, then bursts forth exuberantly during the chorus.  It’s a pretty tried and true formula, and one that surely will find toes tapping and heads bobbing.  But, the record doesn’t jump too far off this beaten path for the first few tracks, though some of the pacing is alternated around the formula.  However, “Forever” definitely ups the ante from the moment you press play.  It’s got this weird vibe to it, relating to the realm between Of Montreal and early MGMT; you know you all love that.

For my ears, “Soft Hammer” is where I see Painted Palms excelling.  The track features one of the clearest vocal performances on the album, but it’s the structural building of the song that’s really compelling.  There’s more of a folk approach to begin the tune, yet it builds this increased tension for a time by piling an electronic instrumental wash atop it all, then reverting to where it all begin.  By controlling the melody throughout, and holding onto it until the end, I realized just how much of a grasp the duo has on perfecting harmonies; this is evidenced through the entirety of the effort.

While I felt like some of the songs suffered by the production, at least in regards to the sound of the vocals, there’s definitely more than a number of hits that are going to be pleasing for the ears. You can take some of the previously mentioned tracks or you could just jump in at “Spinning Signs,” which employs a pulsating bounce that drives the track home for the listener.  Or download “Empty Gun” and you’ll be rewarded again with gratuitous hooks and sugary melodies that have made the band such a staple in the Interwebs.

My experience with Forever ended up being varied.  There’s definitely a bunch of tracks I’ll be playing over and over again for some time, but there were also some disposable songs that might have molded my opinion of the album early on during my listening.  One thing’s for sure though, Painted Palms aren’t going anywhere, and this record is the perfect place to start making a name all on their own.

Boy & Bear – Harlequin Dream

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boy-and-bear-harlequin-dreamRating: ★★★½☆

Harlequin Dream is the second LP from Australian folk-rock band Boy & Bear.  Like their 2011 debut, Moonfire, this is a great sounding, very well produced record with several memorable tunes.

Boy & Bear work within the same reverb-soaked modern folk-rock style of bands like Fleet Foxes and Band of Horses.  Vocally, it’s hard not to hear a major Fleet Foxes influence here.  Still, Boy & Bear have found their own sound, and their tunes are generally more driven and upbeat than their contemporaries.

Harlequin Dream feels more pop and less folk-influenced than Moonfire.  The first five songs are all fairly bright, high-energy tunes.  The album slows down for the first time and takes a slightly reflective turn with “A Moment’s Grace”, before picking back up with the folk-sounding “End of the Line”, which has enough banjo in it to feel like a Mumford and Sons piece.  The next song, “Back Down the Black”, feels very out of place here, maybe because its subject is so much more serious than anything else on the album.  The last two songs are my personal favorites, especially the mellow, meditative “Arrow”.

The vocals throughout Harlequin Dream are quite strong.  There are some really well done, smooth harmonies as well as some impressive displays of range.  The title track in particular is incredibly hard to sing along to, although it’s catchy enough to make you want to try and fail (I did).

Lyrically this feels like a fairly straightforward rock record, with many of the songs covering such inexhaustible subjects as desire and loss.  The mood stays lighthearted throughout the album, but there’s still room for some complex lyrical structures in songs like “Real Estate.”

I like how Harlequin Dream expands upon the Boy & Bear’s already solid sound.  I definitely think that this band is only going to get more popular, and I don’t really have any criticisms of this album other than the fact that the ridiculous cover makes my eyes hurt.

Bubblegum Lemonade – Some Like It Pop

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bubblesRating: ★★★★½

Some records come into your life without fanfare or expectations; they exist simply as a statement by an artist. Whether or not the band, Bubblegum Lemonade in this case, has received acclaim or accolades isn’t important, but what matters is the strength of said statement.  In the case of Some Like It Pop, I don’t care what anyone has to say, this album is brilliant from start to finish.

“This is the New Normal” winds its way carefully into the opening moments, with a bit of strings and a tinkering bit of bells.  Before you know it, you’re swept away in this gorgeous sensation of warm pop.  The melody stands out instantly, but the mood of the song is greatly affecting; Laz adds a nice “ba ba ba baaa” to the mix to really emphasize a musician at the top of his game. And hits just keep coming.  “It’s Got to Be Summer” again opens with a bit of  playful tinkering, but at the 18th second of the track, you won’t find a musical sensation more compelling. What’s striking to me about Some Like It Pop is the attention to detail at every turn.  Where the group went for straight indiepop on their last outing, this one is filled with touches and brushstrokes of genius songwriting that ultimately reward the listener, like when this tune trails off in its closing moments.

And things don’t always go as one would expect from Bubblegum Lemonade.  On “Don’t Hurry Baby,” there’s a lush arrangement, leaving you with this dreamy balladry that will leave a lasting impression.  There’s even a chugging guitar riff beneath the mix that adds a bit of rock n’ roll propulsion to the affair.  And it moves into the album’s standout, “Dead Poets Make Me Smile.”  The title of the song alone wins, but dammit if the song doesn’t win on every single level, rolling along with the back beat of the drums and the jangling guitar.   Other songs like “First Rule of Book Club” have this wry sense of humor, but they also seem to be timeless pieces of music; it’s not draped in nostalgia or boasting some new direction, it’s simply perfect.

The closing statement from Some Like It Pop, “Mr Dreaming’s Bland House,”  is the album’s longest tune, and also a final statement that serves as the perfect summation for the record.  Melodies swirl throughout. Drums are spot on with their emphatic punch, though never over-intrusive.  And the vocals have this perfect wash of fuzzy coating, including a nice dose of backing vocals.  It all fits together so well, that you almost immediately start the record over.  It’s understated in the perfect way, making the entirety so much more endearing.  You’re not going to find a better pop album out there; they just don’t exist, so follow my lead to the blissful land left to us all by Bubblegum Lemonade.

[audio:https://austintownhall.com/wp-content/uploads/2013/07/01-Have-You-Seen-Faith.mp3]

Download: Bubblegum Lemonade – Have You Seen Faith [MP3]

 

 

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