Tag: album review

MGMT – Congratulations

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Rating: ★★★½☆

After the surprising success of Oracular Spectacular, all indications from MGMT would point towards a different direction.  They had no need to reproduce a singles-heavy album in search of hordes of fans; if anything, they acknowledged that the new record, Congratulations, might be off-putting for many of the fans who came their way after hits such as “Kids” or “Time to Pretend.” While the band jump as far away as possible, this record, for musical accomplishments is by no means a letdown.

Opening moments of the album show a more developed group.  “It’s Working” immediately demonstrates that while they’ll remain playful, they won’t simply rely upon access to simple hooks, choosing instead to allow the joy in their work unfold as the songs carry on to their end.  For some reason, MGMT just sound more complete at this point.

Along the same lines as the first number, “Song for Dan Treacy” resembles the early works of Islands.  It uses odd time stops and oddball effects to draw you into the tune while refraining from becoming over-indulgent in the electronic backbone of the music, as some might have said in regards to their last album.  Similarly, MGMT use slow pacing for “Someone’s Missing” to let the song unfold before the listener’s ears, and unfold it does with 45 seconds to go, as the euphoric chanting of the song title with improved percussion bring the song to its end.

“Flash Delirium” is probably the best “single” on the record, if that’s what you’re looking for here.  It recalls the storytelling of Grandaddy, along with the approach of using space-age electronic sounds to build up the chorus.  Once again, the use the ending of the song to tell an entirely different musical story, so be sure not skip ahead, as you might miss some of the musical message hidden beneath.

One of the joys of this album is in the evolution of the band.  Their last album hit you hard in the beginning, but left you sort of bored near the end (at least for me), but the slow-burners on Congratulations have a much larger impact here.  “I Found a Whistle” just seems to trudge along, and while a bit of vocal inflection might have improved it a touch, it’s still one of those songs you’d put on a chill mixtape for a buddy.  You could even include it right along “Congratulations,” which is certainly a great song. All those slow moments that bored last time around, are somehow more interesting here, and that may be due to the well thought-out ordering of songs.  They’ve spaced out the slower moments between pop elements and experimenting (see “Siberian Breaks”).  You have to give them credit; it’s a much more effective approach, and infinitely more rewarding.

One problem with Oracular Spectacular lay in the fact that you enjoyed it immensely upon first listen, but the hooks wore out the more you chose to spin the record.  In contrast, Congratulations is a much different affair.  It’s not set out to make you dance in the same manner, nor does it intend to rely upon singles to boost album sales.  Instead, MGMT have chosen to focus on their writing, which not only make the songs better, but make the record itself much more durable.  It’s not perfect, but it’s definitely a step in the right direction.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/mgmt-flash-delirium.mp3]

Download: MGMT – Flash Delerium [MP3]

Dr. Dog – Shame Shame

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Rating: ★★★☆☆

Since the beginning of 2000 some form of Dr. Dog has been out there, living it up, and making music.  It’s strange, but through it all, the band have managed to always sound like they did in the onset of their fame, yet, slight touches influence each record, giving each album a diverse position within the band’s catalogue.  Shame Shame, the band’s latest, is indeed, much like the last few, built on classic rock, like The Band, and fresh fun.

We begin our new journey with the band by listening to “Stranger.”  It’s an odd choice for an opening piece, as there’s no definitive album statement here; it seems more like a carry over from the last record, Fate.  You probably won’t hate this song, but it just encourages the idea that the band have replaced some of their tenacity with slick production.  But, “Shadow People” changes the album for the better.  Vocals come off like a young Wayne Coyne (this is the first notice of this for me), and gentle strumming is accompanied by piano.  As the song furthers itself, you’re introduced to group harmonies, always one of the band’s specialties, along with a bit of a pick me up.  This would have been a more appropriate opener.

One thing that hurts a lot of this record (just an opinion) is that the group sound really professional throughout.  Yes, that’s not necessarily a bad thing by any means, but the restraint on songs such as “Where’d All the Time Go” removes a lot of the youthful exuberance the band portrayed (and do in the live setting).  Where once trading vocal parts between singers Leaman and McMicken always lit the songs afire, here they just seem far too casual.  Perhaps that’s the one drawback on Shame Shame; the band have gotten so good at what they do, that a bit of the spirit has been lost on the side of the road during some endless Spring tour.

Don’t mistake this criticism for entire disappointment, for there is plenty left to enjoy.  “Later” with its driving piano shows a bit of a new approach for the group. While there is a bit of instrumental tinkering in the song, you sort of wait for the band to let go entirely, which doesn’t happen, except for the vocals, their most powerful appearance on the record.  It’d be interesting to see if the band could ever let loose with their recorded material.

Dr. Dog do tamper a bit with their songwriting approach throughout Shame Shame.  “I Only Wear Blue” is mostly a vocal performance for the opening minute or so, just before the band jumps in to encourage a bit of fun.  Even the lyrics say “let’s get on with it,” suggesting that on some level, the band knows it’s best when they’re pushing themselves, and their listeners. But, for all the experimenting you find, the band always seem to resort to their old tricks.

The past several years have been really good for Dr. Dog, and one would hope that Shame Shame would only further their rise in the music world.  Instead, they’ve crafted an album full of really enjoyable songs, but songs that don’t ever seem to truly take off from a rigorous recording plan one might set up in the studio.  New Dr. Dog tunes are never bad, but at the same time, it seems like we’re at a standstill, waiting for something to change, if only to remind us why we loved this group so much in the beginning.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/drdog3.mp3]

Download: Dr. Dog – Stranger [MP3]

The band will be in Austin on May 1st at Emos.

Harlem – Hippies

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Rating: ★★★★½

For the past several years, interest has been building slowly behind the Austin trio, Harlem.  They upped their own ante by signing to Matador Records for the release of their newest album, Hippies.  Behind years of playing whenever and wherever they could, honing their musical chops, Harlem have seemingly created one of the best works of the year (I was afraid to give it a 5 so as not to be accused of a homer).

Entering the album, there’s about thirty seconds of a slight lull during “Someday Soon,” but as the song goes on, the pace quickens, going forward in a ramshackle truckload of fun.  The final crashing chorus shows the nonchalant attitude of the band who are always energetically pursuing joy on stage.  “Friendly Ghost” (not about a ghost) carries the same mentality, using jangling guitars and a pounding drum to get your foot tapping so hard you might lose it to the sheer enjoyment of the song alone.

Destined to not just rely on lo-fi tendencies and madness, the group do give a nod to a little bit more of a classic rock n’ roll sound, as “Number One” highlights garage rock’s earlier days with gang vocals and certain tendency not to come across too polished.  All the while, they maintain their incredible stomp, which may lead to some soreness in the neck after prolonged exposure to this record. “Be Your Baby” is in the exact same ball park, although it doesn’t sound anything at all like the song that precedes it.  You will surely be exhausted already by this point, as no band can clearly keep up this blistering pace.

They do.  It’s like non-stop furious jangling chords and raucous percussion work.  “Gay Human Bones” maintains the pace, and then you find a hint of Nirvana in “Torture Me” (that’s if you are to believe the band’s Myspace).  However, there is “Cloud Pleaser.”  Rolling gently along for a minute or two, it gives all us listeners a chance to stretch and maybe grab a quick drink of water, but the band can’t stay away too long, ending the song on a faster note, albeit a slightly slower one, comparatively speaking.

You won’t ever find anything dull, though some might say that there are some like-sounding songs, along the way to the end of the record.  If you found the first half of the record touched by garage sounds and carefree recording, then you’ll be surprised that there is a dark psychedelia lying at the second half.  “Prairie My Heart” has a darker soul to it than some of the previous number, leading you to believe that Harlem has more tricks up their sleeve. So they do, as “Pissed” clearly isn’t like many other things on the record, yet it fits right along the rest of the tracks.  Personally, it just reminds me of Love if Arhtur Lee was a whole lot more “pissed”, and didn’t have that spectacular voice.

Really, this record is fantastic.  It moves along at such a quick pace that you have to go back several times to make sure you loved that one song as much as you did when you first heard it.  Truth is, you will love it, possibly more so.  Hard to find a bad song on this record that can’t stand on its own merit, which makes Hippies one of the best works to come out in 2010. Truth.

[audio:https://austintownhall.com/wp-content/uploads/2009/12/Harlem-Friendly-Ghost.mp3]

Download: Harlem – Friendly Ghost [MP3]

Dum Dum Girls – I Will Be

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Rating: ★★★☆☆

Initially gaining notoriety during the rise of similar bands such as Vivian Girls, it would be easy to lump Dum Dum Girls into the exact same pile, yet something separates those two groups from being perfectly aligned (despite sharing a DDG sharing a former member of VG).  On I Will Be, which is primarily the work of Dee Dee, there remains a large bit of influences, but underlying all that lies a certain sense of darkness.

You can put on “It Only Takes One Night” and immediately feel the edge that runs throughout the album.  Rather than buzz and pop, the guitars seem to ring from a darker place, not ever quite breaking out of that seemingly haunting place.  The vocals, too, have a bit of a dark influence to them, partly due to a bit of a vocal echo effect.  Surely this is the influence of Dee Dee’s friend Mike Sniper (Blank Dogs), who makes similarly haunting tunes.

Even with that sinister tone hiding beneath, the band also have a touch of a softer side to them, one that definitely has its roots in girl groups of the 60s.  You’ll find that style prevalent in songs such as “Bhang Bhang, I’m a Burnout” or “Rest of Our Lives.”  The former uses backing vocals to bring back that nostalgic aesthetic, and it does so effectively.  “Rest of Our Lives” is sort of a late 60s prom dance number.  It’s slow moving, and the rest of the girls in the group, or perhaps just Dee Dee’s overdubs, gently float vocals in the background, as one would expect to see.  These songs are easily enjoyable, though not necessarily pushing any new ground.

However much this band seems to stay in one of two places, they are capable of creating some spectacular songs.  “Jail La La” is every bit as catchy as anything that has come out this year.  This is one of the few songs in the collection that seems to rise above the influences and standout for its individual promise, making it a currently relevant pop track.  Whether its the precision drumming pushing the pace of the song or the vocal quality here, the song wins you over instantly, never letting go. Another winning track is “Blank Girl,” featuring Brandon from Crocodiles trading vocal parts.  The juxtaposed vocal tradeoffs are quite successful, and the psychedelic guitar cuts don’t inhibit this song either.

Adding a touch of kitsch, Dum Dum Girls cover Sonny & Cher’s “Baby Don’t Go” to close out the album.  Personally, this song is a lot more affecting than the original number, as you can’t resist Dee Dee’s warm vocals here.  Everything else seems to stop during this song, and the instruments themselves are just a tool for the female voice. At least you can accept the inclusion of the song for thematic purposes on this record, and for the fact that its a pretty enchanting cover.

As it ends, I Will Be is neither astonishing, nor is it a letdown (not by any means).  You just have to weigh your personal feelings about whether or not this style is fitting for your listening habits. There’s not necessarily an over-abundance of originality, but you can’t let that detract from the fact that Dum Dum Girls have recorded some quality moments of music, such as “Jail La La.” You’ll find more enjoyable moments than not on this record, which is something you can’t say too often nowadays.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/04-Jail-La-La-1.mp3]

Download: Dum Dum Girls – Jail La La [MP3]

Let’s Wrestle – In the Court of Wrestling Let’s

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Rating: ★★★★☆

Originally, the UK trio Let’s Wrestle released their album In the Court of Wrestling Let’s in 2009 in England, but fortunately, those clever lads at Merge Records got a hold of it.  They’ve re-released this record here in the United States, and every listener will forever be indebted to them for doing so.  Let’s Wrestle is an honest band, bound by no pretension, built to cheer you on towards brighter days and generally just make you smile.

“My Arms Don’t Bend That Way, Damn It” opens this sixteen song delight, and despite some rather somber lyrics, the jangling guitar lines and furious drum pounding indicate a narrator, and perhaps a band, pushing towards frivolous days.  This happy assault on your ears always seems to carry more serious undertones, but in disguising it as they do, you can’t help but pogo along.

You’ll absolutely love listening to “Tanks.”  It definitely has a very British sound to it, as the bass bobs in line with the guitar work.  Every bit of this song sounds utterly familiar, yet it stands out in a very distinctive manner, which recalls the early work of The Wedding Present.  Similarly, the “ba, ba, ba” chorus that runs throughout “We Are the Men You’ll Grow to Love Soon” just sticks inside your head all day long.  Once again, bass work is key to the simplistic formula here, propelling the song along when the chorus isn’t present.  Don’t even try to tell yourself that you don’t already feel yourself growing to love this band.  It seems like soon is now.

Apparently the band have an affinity for American pop acts of the past such as Buddy Holly and Roy Orbison.  Such influences definitely bleed through here, especially on songs like “My Schedule.”  There’s a certain swing you’d find in the records of your parents; you know, the ones they told you they first danced to when they were courting each other. But, the group has the knack to make it all their own, using a hint of tropicalia on “In Dreams.”  While the subject matter is definitely a nostalgic allusion, you get the precise feeling of listening to this on a beach, if not for Gonzalez’s echo-effected vocal.

A wondrous thing about In the Court of Wrestling Let’s is the fact that their is a youthful vibrance throughout, keeping the album from ever feeling stale.  “I Won’t Lie to You” has a blistering pace to it, and although it does come across a touch raw, you’ll be drawn to the purity of a band pushing themselves to have fun.  And “It’s Not Going to Happen” feels as if a bunch of British brats decided to borrow a touch or two from Ted Leo.  This is meant as flattery, sincerely.  It uses the stop-start formula, along with mono-syllabic moments repeated, sucking you in as it goes.

For a debut record, you couldn’t really ask for a whole lot more.  Not a song on will turn you off, and despite being a straight pop-rock album, you probably won’t skip a song.  Sometimes the best records are the ones that present themselves honestly, destined to bring you nothing but joy.  In the Court of Wrestling Let’s is precisely such a collection of songs, and one that  Let’s Wrestle should be extremely proud to have created.

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

Download: Let’s Wrestle – We are the Men You’ll Grow to Love Soon [MP3]

She & Him – Volume Two

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Rating: ★★★☆☆

After a stunning debut that won over many a doubter, She & Him return for their second album, Volume Two.  You’d be hard-pressed to find someone who didn’t appreciate the first effort, at least to a certain degree, but would the yearning for a second helping of Zooey be nearly as fulfilling as the first run through?  Honestly, it’s probably equally as rewarding as the first record, but that gets lost in the fact that it doesn’t find the group really pushing any limits.

“Thieves” finds the duo transported to precisely the place where they left off, cashing in on our adoration for Motown girl-groups of the past or female country singers with lush orchestration.  While you can see that this was definitely mapped out a whole lot better, with Ward’s raspy whisper singing along during the chorus, it’s not too far removed from the last release, something that may trouble some listeners.

“In the Sun” displays Zooey’s vocal prowess.  Perhaps it’s not the most perfect voice of all time, but you’ll find it every bit as enchanting as you did the first time you heard her sing while watching Elf. However, it has to be M. Ward who steals the entire show here; his guitar work cutting in and out of the song definitely makes this a whole lot more memorable than some of the tracks you’ll hear this time around.

While the album opens with a more upbeat feeling, due mostly to predominantly featured piano, the warmer songs hold the bread and butter.  “Me and You” is probably the most simplistic song, yet the arrangement of the song, accompanied with slide guitar makes it extremely powerful.  She & Him back this up with “Going to Get Along Without You Now,” a song that definitely has a hint of playfulness to it, but Ward’s simple strumming holds the song in place, never letting it stray to far into the realms of kitsch.  Which is not how much of the latter half-of the album goes.

Perhaps the redundancy of the piano work here makes it all seem a bit too childish.  There’s not a lot of exploration on the keys, instead relying upon simple chord progression. While it was charming mixed in on Volume One, this time around it comes off as if the band has run out of ideas. You can contrast that with some of the simple guitar songs, like “Brand New Shoes,” which comes in near the end, and you can feel as if something just hits home with your heart when the piano is absent.

In the end, “If You Can’t Sleep” closes out the record, doing so in a bit of a different fashion.  The title definitely reflects the emotional appeal of the song, and the pacing, which makes perfect sense, as the band isn’t one to push boundaries too far.  All in all, Volume Two leaves you with the feeling that She & Him didn’t want to stray too far away from their original work.  That being said, a detractor here is that it doesn’t stray too far at all, and you get the feeling that this sits perfectly next to Volume One. It’s a pleasant enough listen, just one that isn’t nearly as exciting as the first time you heard Zoeey and Matt together.

[audio:https://austintownhall.com/wp-content/uploads/2010/01/She-Him-In-the-Sun.mp3]

Download: She & Him – In the Sun [MP3]

Love is All – Two Thousand and Ten Injuries

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Rating: ★★★★☆

You have to have hidden under a rock to miss the last two releases from Love is All; if you were hiding, you missed a ridiculous amount of boisterous pop tunes.  Now, the group has returned with their newest work, Two Thousand and Ten Injuries, which shows a bit more experimentation and a shift in direction.  One things for sure, nothing is as joyous as listening to this group when they’re at their best.

Once this record kicks off, you can definitely tell that Love is All is no longer in the same place, as the blistering pace has been slowed back a bit, revealing a little bit more clarity in the songs.  “Bigger Bolder” is the first tune, and you can tell that more time was spent on the guitar work, which seems to reveal a hint of nostalgic garage rock.

As a long time fan, “Never Now” is a winner.  It’s not nearly as dense as anything in their past, which allows for the playfulness in Josephine’s voice to break through.  In the past, the cacophony often overpowered the pop element, but here empty space is not being filled, so you get a more concrete song pushing through.

But, one of the things that Love is All have continued to push is the bubbly dance tracks that seem to blur the line with discordant guitars.  “Less Than Thrilled” has a guitar line that sounds an awful lot like U2 guitarist Edge, but wraps you up in its bouncy bass hooks.  “Dust” also brings about that catchy bass work in the beginning, but here you see the band reverting to their old tricks, feeding saxophone into the skeletal backbone of the tune.  You’ll find yourself loving the drum circle moment near the 2 minute mark just before the band marches you into the concluding moments.

The thing that makes Two Thousand and Ten Injuries such a strong effort, and one that might exceed their prior work, is that the band isn’t shoving every possible instrument into each inch of the record.  “A Side in the Bed” sort of meanders along while Josephine cooly drapes her vocals over the drum beat.  Barely audible guitar and saxophone work cut in and out of this track, where as the group would have filled this song to the brim in the past.  Closing the record in this manner also works to the advantage of the quintet, as you’ll find them ambling during “Take Your Time.”  This is the first time where I’ve felt an emotive quality be created from the group rather than just sheer joyous noise.  I like it both, but it makes listening to the entirety of this album much more gratifying than the quick bursts that you might have found on something like Nine Times That Song.

It’s refreshing to see that Love is All seem to have made it out of the possible rut they could have found themselves in after their first two releases.  Two Thousand and Ten Injuries shows the band experimenting with different song construction, allowing for emotional releases that often evaded older efforts.  No longer do they need to beat you over the head with energetic playground fist-pumping, instead choosing to let you relish in more complex, and complete, songs.

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

Download: Love is All – Repetition [MP3]

Happy Birthday – s/t

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Rating: ★★★☆☆

One of the most recent signees to historic Sub Pop is a relative newcomer to the music scene.  Happy Birthday, for those of you stumbling upon the band, just formed in 2008, and their self-titled album is their first official recording.  This album fits nicely into the new fascination with fuzz-riddled guitar pop, though the band isn’t just a one trick pony.  While the majority of the album is filled with charm, there are a few missteps that keep it from taking off.

Happy Birthday kicks off their debut with one of the catchiest tunes of 2010, “Girls FM.”  Jangling guitar rings hollowly in the background as Kyle Thomas wails a bit, just before the drums are added.  Once you get to the chorus, where Ruth Garbus joins Thomas, you can’t escape the sugary sweetness.  Placing this song up front establishes a lot of the music as surf-pop, though the group does go in different directions at times.

One of the tricks the band employs to great effect is to have Kyle’s vocals carefully backed by the warmth of Ruth’s voice.  “2 Shy” utilizes this tool, and it moves the music away from garage band to polished power-pop.  Such a combination creates blissful moments for the band, and they pull it out just often enough to make it memorable. You’ll see the same elements in “Maxine the Teenage Eskimo,” which might be the secret gem of this album.  It’s late in the collection, and this general sweetness comes in a bit later in the song; stay with this one folks, as you’ll be rewarded greatly.

Interestingly, there are some odd Marc Bolan-esque vocals floating throughout spots on this record.  “Subliminal Message” has that trademark T. Rex guitar, and Thomas seems to channel a bit of Marc’s vocal inflections on his delivery–this actually makes for a really fixating slow jam.  Unfortunately, they return to this same formula for “Pink Strawberry Shake,” at a point in the album when you’re really looking to be revitalized by something new; you might find yourself bogged down at this point.

Still, a new band has to have some drawbacks, right?  Well, this is true of Happy Birthday.  At times, they seem to have a little bit too much simplicity in their songwriting, which can be translated to childishness.  “Zit” is just one of those songs that demonstrates some of these weaknesses; it’s a juvenile song, both lyrically and musically.  While the lyrics throughout definitely hint at the unpolished quality of the group, this song takes it a bit too far.  Clearly, there is room for simplicity and youthfulness, but it kind of goes too far at points on the album.  This is just another factor the band will eventually work out on the next album, as they sometimes don’t seem to know when to hold back, pushing songs beyond a point of impact for the listener.

However, don’t end the album without listening to closer, “Fun.”  Yes, it does use that recently popularized style of mundane lyrical songwriting, but there is a touch of real brilliance here.  Some might recall Superdrag or Teenage Fanclub, and fans of those bands will surely love the ending to this album.  All things considered, Happy Birthday‘s debut has demonstrated room for growth, with touches of brilliance throughout, so we should expect a solid second outing based on the charms of this beginning.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/01-Girls-FM-1.mp3]

Download: Happy Birthday – Girls FM [MP3]

Miles Kurosky – The Desert of Shallow Effects

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Rating: ★★★½☆

When Beulah called it quits many thought this might be the last we had heard of Miles Kurosky.  He hid under the radar for a little bit, but the instrumental orchestrations within his mind eventually won out, encouraging Miles to take to the studio once again. The Desert of Shallow Effects is his first solo album, and while it doesn’t stray too far from his previous works, it serves as a reminder that he still has the ability to craft amazing pop gems surrounded by big band moments.

The album opens with a slow burner, “Notes From the Polish Underground.” Miles doesn’t do too much to push the energy on this number, instead choosing to let the horns and piano flesh out the song.  It’s reminiscent of his work on Yoko, which left Beulah on the quieter side of California pop. But, he moves on quickly with “An Apple for an Apple.”  Seconds into the song, you get a ringing guitar, one that comes in and out of the song.  Here is the Miles that fans will fall in love with all over again.  Instruments abound, production wise, but it’s his warm vocal drenched in a faint moment of backing vocals that celebrate the exuberance we once associated with the singer.

While this record has moments where Miles brings back that passionate mini-yelp, such as “I Can’t Swim,” energetic moments are clearly not all that will define his return to form. The Desert of Shallow Effects also utilizes his softer side to great effects.  “She Was My Dresden” is really just a song for him to strum along while you are soothed by his vocals.  What’s relevant about this song in regards to his past is his focus on first-person storytelling it’s one of the few songs on this album where his feelings are the sole focus of the work.  In contrast, he has other slow turning songs like “Housewives with Knives” and “West Memphis Skyline” where he looks at writing from the third-person perspective.  Despite the change in lyrical content, these quieter moments also show that he’s polished his songwriting in this style, fusing his own distinctive writing with his lush orchestration.  Perhaps time has allowed him to clear the cobwebs a bit, and construct sublime moments all over.

Suffice it to say, The Desert of Shallow Effects is a triumphant return for Miles Kurosky.  Sure, he does seem a bit undecided on precisely where he wants to go now that he’s back in the music game, but what remains central to this album is that he can still create amazing songs, use his friends to provide great backing moments, then carry you into momentary bliss.  We should all consider ourselves lucky that such a wonderful voice has returned to the music scene to warm us over with his sunny chamber pop tastes.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/10-West-Memphis-Skyline-1.mp3]

Download: Miles Kursoky – West Memphis Skyline

Miles will also be playing the following SXSW shows:

3/17 @ Red Eyed Fly – 3:20 PM   3/18 @ Emos 9 PM  3/19 @ Home Slice Pizza – 5:15

Liars – Sisterworld

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Rating: ★★★★☆

Long ago Liars delved into post-punk world with They Threw…on Top, but they’ve shape-shifted on every record since that point, which would lead many to believe that Sisterworld would have some sort of major twist forcing listeners to adapt yet again.  The fact is, Liars have finally completed their most cohesive collage of noise-rock since their debut, and in doing so, have created their best work to date.

Our opening two tracks, “Scissors” and “No Barrier Fun” find the group getting into a bit of garden darkness.  “Scissors” features a haunting Angus vocal, with choir backing, that creeps along whilst tinkering noises guide the song.  Suddenly, you’re met with crashing noise.  It’s similar to the way the opened Liars, but as soon as you realize what’s happened, we’re back to Angus lurking in the shadows. Meanwhile, “No Barrier Fun” brings along the experimental noise work the band has employed in the past, throwing everything but the kitchen sink into the mix.  For some reason, there is a throbbing electronic element in the background that seems to keep you on edge throughout.

But, never to be a band to stay in one place for long, you’ll find that “Scarecrows on a Killer Slant” brings sort of an Anthrax vocal delivery coated in walls of feedback and noise.  You have to expect them to belt this song out in the live setting, as the energy alone emitted from this song surpasses almost all their work to date; even Angus’ odd vocals stretched over the ending are not enough to take away from the incessant pounding element that makes this number stand out in the head of most listeners.

One of the weirdest things about recent Liars records, including this one, is that sometimes the band just seems as if they’re messing about in the studio, and yet they manage to always make it sound interesting.  “Proud Evolution” doesn’t really seem to have anywhere to go from the first few seconds, and it almost feels like you’re stuck listening to this song without an escape; this may be why you have to credit the band for their creativity and exploration. You’ll find that as the percussion joins and the lyrical delivery comes in almost the form of a stomping chant, you’ve already invested yourself enough into the song to want to let it go by skipping on to the next moment.

Liars remain a compelling listen throughout Sisterworld due to their ability to juxtapose haunting experimental numbers right next to their oddball noise rock.  “The Overachievers” recalls some of their earliest work, although it has the sonic exploration of their later works, as screeching guitars fill in the back line of the song.  Then they throw it out the window and back the song right into “Goodnight Everything,” which comes off like a demonic version of M83, as soundscapes are destroyed by the death march of the guitars and Angus’ continually disturbing vocal delivery.

You have to give it up for this band.  Rarely does a band manage to jump from point to point throughout their career and still maintain a reasonable sense of cohesion amidst their catalogue.  Liars continue to push the envelope in their own quest to uncover every redeemable quality in sonic exploration.  Sisterworld is the benefactor of this never-ending search, finding the band learning from their past, and moving on into unknown territories of creative noise.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/09-The-Overachievers.mp3]

Download: Liars – The Overachievers [MP3]

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