Tag: album review

Ola Podrida – Belly of the Lion

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bellyRating: ★★★★½

David Wingo easily won me over with his first album, Ola Podrida, but at the time, he was living in New York, working on various film scores and what not.  He’s returned to Austin, which makes me love him even more, and he’s just released another album, Belly of the Lion, that shouldn’t go unnoticed. Be it the warmth of his voice, or the emotional landscaping he creates with his tunes, you’ll find something enchanting throughout the duration of his second album under the Ola Podrida moniker.

For some reason, and this isn’t meant in a disenchanted way, this album feels ultimately louder than the self-titled album, well, as loud as Wingo seems to get.  “The Closest We Will Ever Be” seems like a more complete version of the songs on his first record.  Much as most of the songs are, this song has grown to include various layers to accompany David’s vocals.  Perhaps some might see this as a less-intimate affair, but rest assured, getting inside the listener is something he accomplishes with ease.

“Your Father’s Basement” was the first single to be let loose from the wonderful label Western Vinyl, and this is just one of the many tracks that will standout in your mind.  As usual, you’ll find precision guitar strumming, creating a comfort zone within the song; it’s a place for all the listeners to sit and rest.  And as you do so, you’ll find it difficult not to fall in love with Wingo’s unique vocals.  There is a familiarity in his delivery, perhaps one indebted in Texas folk musings; regardless, this song stands up to the expectations set forth by the former album’s “Jordanna.”

Songs such as “Monday Morning” and “Sink or Swim” definitely demonstrate that Wingo has done some work in the film industry.  While “Monday Morning” uses various backing tracks to create and emotional appeal throughout the story of the song, “Sink or Swim” fits perfectly into the intimate moments between a romantic encounter, one that is likely to take place in some sort of wintery wonderland.  Such is the strength of the album, as Wingo has included more in the bedroom listening he provides for his audience.

For this listener, “Lakes of Wine” is a remarkable track, aside from the fact that I consider them ALL remarkable.  He gently picks at the heart of the guitar, drawing your ears closely into the song itself.  And in doing so, you find yourself absorbed before the lyrics even jump into the tune. There is something extremely personal in both his delivery and his lyrics here, as he waxes nostalgic; you, too, will travel back into the past with him.  Such is the true art of David Wingo.

While it seems that too few people have had a proper chance to expose themselves to Ola Podrida (such is the tragedy of technology’s effect on our listening habits), Belly of the Lion is an example of a confident piece of work that was carefully crafted to draw upon every human emotion, plugging it into each song.  You’ll want to have this album on hand as we prepare for the winter, and as you prepare to make your record collection complete with masterful pieces of art.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/WV67_YFB.mp3]

Download: Ola Podrida – Your Father’s Basement [MP3]

Holopaw – Oh, Glory. Oh, Wilderness.

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holopaw-oh-glory-oh-wildernessRating: ★★★☆☆

Holopaw had a decent output back in their days on Subpop, but they had been quiet for the better part of the last four years.  That is until Bakery Outlet released news that they would put out Oh, Glory. Oh, Wilderness.  And, despite that singer John Orth has ties with Mr. Brock from Modest Mouse, you can’t really feel the odd signatures and multi-instrumental moments that he threw into the completion of the Ugly Cassanova album.  It’s much more of a mainstream approach, but by that, perhaps it just means it’s more straightforward than what one would expect.

When “The Art Teacher and the Little Stallion” first burst onto the Internet, there was something really casual about the vocal delivery.  It seemed like a band that was comfortable in what they were creating, and that, for me, was quite refreshing.  It was just a simple guitar driven song, nothing special about it, but nothing one would consider mundane.

For the most part, the album doesn’t do too much else to steer you away from that understanding.  “Boys on Motorbikes” has a strange feeling of 90s radio meeting with vocals of someone like Bazan or Enigk or even one of the Kinsella brothers.  Something in the vocal just seems to pull at that emotional level just enough to differentiate itself, but not so much to where you will forever remember the vocals.

A special moment does appear on “Cherry Glow,” the album’s fourth track.  Strummed guitar serves as the primary background for Orth’s voice, and then it slowly builds towards a quickening of the pace.  And as the lead guitar takes over, you’re reminded that you’ve found a song; the female backing vocals cooing in the background don’t hurt too much either.  Similarly, “The Last Transmission” is perfect as a single instrument strong.  Sure, the flourishes in the background from the slide guitar aren’t really going to hurt anyone, but by itself, you can really get pulled into the song itself.  All this can probably be placed at the foot of Holopaw‘s history, as they were forced into a duo years ago, only to pick back up as a group very recently.  

The group aesthetic is all well and good, but some of the songs, such as “Little Stallion with a Glass Jaw” sometimes seem a bit overdone by having the full band presence.  This is what makes Oh, Glory. Oh Wilderness. a good album as opposed to a moderately great one.  Intimate moments across the album are perfect and rewaring, but occasionally, you just seem to get stuck in the middle of the album.  Alas, they’ve just reformed a proper band, so the future for Holopaw could be very bright.

[audio:https://austintownhall.com/wp-content/uploads/2009/09/holopawartteacher.mp3]

Download: Holopaw – The Art Teacher and the Little Stallion [MP3]

Molina & Johnson – s/t

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molinajohnsoncoverRating: ★★★★½

You had to know this was coming; you had to know that a combination of these two men could lead you to nothing but greatness.  Jason Molina and Will Johnson live two separate lives.  One man, Jason, fronts Magnolia Electric Co, while the other hangs out in Texas and fronts Centromatic, not to mention his own solo stuff under the name, surprisingly, Will Johnson.  United, they have risen above their individual prowess and united to make a conglomerate of sad-bastard music that surpasses most everything else that came our way this year, in regards to that particular genre at least.

When you first hear “Twenty Cycles to the Ground” you immediately feel the comfort of home. Will Johnson‘s voice always sounds like your aged father singing on the back porch with his acoustic guitar in his hand.  At the same time, the warmth of Molina accents the throatier moments from Johnson.  Such a natural harmonization could not be imagined in this mind.

And for the larger part of this album, you encounter such beautiful moments time and time again.  “Almost Let You In” sees the two gents casually trading vocal duties over gentle piano structures and simple strumming of acoustic elements. There is such a clarity in the music that can only come from its simplicity, leading the listeners to the height of audial enlightenment; such as it is when the two combine near the end of the song, just as the piano begins to carry you away.

You are not very likely to find anything overtly beautiful and fanciful in this album.  It seems steeped in a sense of melancholy, which is mostly due to the instrumentation.  Yet, despite the down-trodden mood simulated by the instrumentation, nothing is as enchanting as Will Johnson walking quietly through his songs, with throaty vocals intact, pushing you to the edge of your bed, grasping, no, hanging, on every last syllable that he emits. The light in this album comes largely from Molina, however.

Take, for example, “The Lily and The Brakeman,” one of the songs that only goes to Molina. There is a different emotional appeal in his vocal delivery, and as it yanks on your heartstrings, it also seems to soothe you just a bit more than his counterpart.  This is precisely why this album is such a wonderful collection of songs.  There exists a perfect juxtaposition between the warble of Johnson and the calm delivery of Molina, both captivating, and both working together in unison. Together, they’ve created an album that seems born of the past, only to live in the current landscape.

Not a moment on this album is really discardable; not a one. Perhaps the off moments will be off-putting to casual listeners, but once you immerse yourself in the waters of Molina & Johnson, you’ll feel as if you’ve been washed in one of the most masterful collaborations.  Do yourself a favor and get lost in the world of these two, as you’re likely to never want to leave.

[audio:https://austintownhall.com/wp-content/uploads/2009/10/almostletyouin.mp3]

Download: Molina & Johnson – Almost Let You In [MP3]

The Mary Onettes – Islands

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maryRating: ★★★★☆

A few years back I walked into this band, unintentionally, and they’re melodic popscapes have since been part of my valued collection.  Really, it’s hard not to love a good band from Sweden.  Alas, The Mary Onettes return with their latest album Islands.  It’s still got that sweeping emotional grab to it, though listeners familiar with their older work will be able to see that the band sounds much larger than they ever sounded in the past.

“Puzzles” just steps up the band’s reputation from the get go.  You’ll find that shrouded wall of noise opening the album, but the electronic bounce that brings the song full circle will catch you in its grandiosity. It bares the mark of Ekstrom’s delightful vocals, warm and dark one minute, then pushing for the upper limits of catchy melody.  This is all followed by “Dare,” which was issued on the Dare EP earlier this year.  Two for two from the opening moments.

One of the interesting steps aside for the group comes on “Cry of Love.”  It’s full of negative space, almost a dark void, but filled with Ekstrom’s brooding vocals.  And in the middle of the song, level drumming comes in, almost as if it’s meant to just move the song along until the end.  This is one of the band’s moments where they show restraint, scaling back the melodic attack on your ears, quietly sitting in the middle of the album.

And just like that, the winds of the album have turned, well, they’ve calmed down rather.  Large bursting sonic pop-tarts are being replaced by a steadier hand  in the middle of the album.  “The Disappearance of My Youth” and “God Knows I Had Plans” definitely take a turn away from the bombastic jump-start of Islands. For me, this provides a subtle change in the band’s dynamic, which enables the group to push more variation into their songs.

But, the darkness returns with Cure influenced “Symmetry,” which oddly, is one of the best moments on the record.  You can hear the eighties in the song, almost too much, but then again, the band has always bordered on being labeled as relevant nostalgics. And with this, they’re off again, jumping right into “Century,” a song aided by pounding drums and sky-high vocals.  It’s like Glasvegas-lite, and you know your heart can’t fight that sort of audio attack.

And there you have it, another successful album by The Mary Onettes.  Nothing is daring on this album, but nothing need be.  You’ll find yourself with an album worthy of harmonies and brooding, just like you remember them talking about (or maybe you participated) in the tail-spin of the eighties.  Still, there progression and perfection of pop music labels the group as more than classic revisionists; if anything, they’re definitely relevant, as Islands clearly proves.

[audio:https://austintownhall.com/wp-content/uploads/2009/09/01-Puzzles-1.mp3]

Download: The Mary Onettes – Puzzles [MP3]

Miles Benjamin Anthony Robinson – Summer of Fear

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mbarsummeroffear-coverRating: ★★★☆☆

Miles Benjamin Anthony Robinson burst onto the scene a few years ago with the support of the New York hierarchy.  Now, as he releases his second album, Summer of Fear, which is his first for Saddle Creek, he goes and grabs Kyp Malone of TV on the Radio to aid in production duties.  Would having such a producer ultimately effect the aesthetics of our new favorite troubador?  How would Malone put his own touches on the record, or would he?

Upon first listen all the way through, you can immediately tell the difference between Summer of Fear and Miles Benjamin Anthony Robinson.  Sure, there are ecclectic touches, no doubt influenced by the presence of Malone, but there is a certain sesnse of urgency lacking in these songs.  “Shake a Shot” opens the album without making that statement you expected, although you can still feel the passion in the lyrics.

“Always an Anchor” is the second song, and it happens to be one of the more powerful song on the record. You can hear the struggle of daily life in the guttural power behind MBAR‘s vocals, which is precisely what made his first effort so powerful.  This time around, it’s a bit more sparse than you would otherwise want, or rather, expect.  If you listen to it closely, you can almost hear the “Wolf Like Me” guitar chug in the background.

What does seem more pronounced on this album, or perhaps clearer due to the clarity of the voice is the clarity of the lyrical content.  We all know by now about MBAR‘s struggles, but it’s how he spins those around to churn out great tunes which is admirable.  Not only that, but he sings about the despair of humanity, but in doing so, he seems to sing it with such conviction and understanding that you can’t really be worried about it any longer.  It’s as if he has come to accept it more as fact, and the listener should too.

Listening to this album, you will find your songs that you like, and you’ll find flourishes of things un-MBAR, such as the various string elements, seen in songs like “Hard Row,”  that occasionally seem out of place mid-song.  Still, the more songs this guy churns out, you feel as if the better off we all are, as Summer of Fear, though hindered by various elements, demonstrates the songwriting capabilities of Miles Benjamin Anthony Robinson; we should all be grateful for such an emerging voice.

[audio:https://austintownhall.com/wp-content/uploads/2009/09/03-The-Sound-1.mp3]

Download: Miles Benjamin Anthony Robinson – The Sound [MP3]

Tim Williams – Careful Love

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twcl-coverRating: ★★★☆☆

Tim Williams has a slew of releases under his belt, and the acclaim he earned off the last album left many lying in wait to get their hands on Careful Love. It’s hard to classify the man and his tunes, but press releases lean towards the description of coffehouse pop meets classic singer/songwriter. This is a fairly solid description, but you can see flourishes of musicianship that push beyond those stereotypical boundaries.

When you listen to the first track, it seems at first as if the vocal inflection of Tim is leading you towards a stronger identity.  “I Hit the Wall” lies somewhere in the vein of Telekinesis or Spoon, catching you with a bobbing hook.  This all leads you into “Ozone Street,” which sounds an awful lot like a cleaner version of Tim Kasher’s early work with The Good Life.  By this point, one thing that is disappointing is the lack of realism that stems from the recording of the drums.  Sure, programmable drums are easy to do, but that doesn’t mean you can’t go get some solid work from somebody in a studio.

Still, if you can step aside from that factor, you’ll find some songs on here that definitely grab your ears, due mostly to the gentle voice of Tim Williams.  Sure, it sounds awfully clean and polished, but with the rest of the musical accompaniment, that works to great effect here. Songs like “Oceans”or “8 x 10” have infectious grooves and tonality that find a way to lodge them inside your head.  The latter track is probably one of the most exceptional on the album, but you’ll find me yearning for a stronger drum track to back this.  A crashing cymbal here or there could have made this song brilliant; instead, it’s just pretty damn good.

Listening to Tim Williams new album, you find something for almost every taste.  Slow moving songs with touches of piano and female backing vocals are abundant, as are the pop gems that most people associate with Tim’s work.  This is just another solid example of a man who is crafting his own path, and what a bright path that proves to be when listening to Careful Love.

[audio: https://austintownhall.com/wp-content/uploads/2009/10/ihitanotherwall.mp3]

Download: Tim Williams – I Hit Another Wall [MP3]

Lucero – 1372 Overton Park

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luceroRating: ★★★☆☆

This now their umteenth album, Memphis band, Lucero are up to their old tricks again.  On 1372 Overton Park they go the tried and true route of giving their local abode a little representation.  With this record, the band continue to push themselves beyond the country-punk roots that often get thrown at the band, forging ahead into just classic American rock.

Sure, you hear Ben Nichols’ voice, and you can tell that the man has been smoking or drinking or screaming for years, or maybe all of the above.  It’s a voice with a story, which is precisely why so many fans have attached themselves to this band, not to mention Ben’s role in the Revival Tour (which I love to death).   And with a voice that carries such a story with it, you expect the vocals to reach deep and tell a story themself; this is precisely what they do.   Most people will probably see the lyrics across this album as a descendent of Springsteen, but those not familiar with the Boss will also see similarities with the more modern Hold Steady.

Even the songwriting recalls both the previously mentioned bands, though it probably leans towards the former more.  Take “The Devil and Maggie Chascarillo,” a song that features a full on horn section, creating a huge sound you might not usually associate with a bar band who owes a debt to punk.  The great thing about this album is that it’s not trying to being anything particular.  It relishes in the fact that the sum of all parts is precisely what the band is offering their audience.  Their is no pretentious assocation with a particular genre, nor any desire to do so.  It’s just a sprawling record of classic American rock n’ roll; it’s the kind you all know you can love.

Perhaps the best songs come at the slowest moments, when Nichols can pull at your heart strings, and yank that emotion out from your innards.  “Goodbye Again” probably says enough for those looking for a heartbreaker in its title alone, but even such a song probably won’t do as much for you as “Mom.”  Yes, it’s a song for dudes; you just have to deal with it on this occasion because this song is great.

Whether you find straightforward rock your thing or not, you can’t deny that Lucero has the makings of a group who can go far with their particular style of music.  Their fans follow them anywhere, and now that you have a chance to hear the work on 1372 Overton Park, perhaps you’ll be one of those diehard followers.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/11-Hey-Darling-Do-You-Gamble_-1.mp3]

Download: Lucero – Hey Darling Do You Gamble [MP3]

The Flaming Lips – Embryonic

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EMBRYONIC TRAYRating: ★★★☆☆

I’ll be the first to admit that after listening to At War with the Mystics a few years back, I fully expected Embryonic, the new album from The Flaming Lips to be one of the worst albums I would come across this year.  Yea, I lost the faith, and like others, I was pleasantly suprised when I got my hands on the album.  A few spins in, and I dug it.

For the first few moments, you can tell that the shift of the group has gone towards a less pop-centric approach to writing.  Gone from the opening moments are the anthemic pop songs one would expect to hear coming from Wayne’s mouth as he walked across a crowd in a bubble.  Still, the one thing that makes me reluctant to go full on into this conglomerate of sounds, which is really what the first few tracks are, is that I heard this all before.  Sure, the Lips can pull it off, but it reminds me an awful lot like that Battles album from a few years back.

Then comes “Evil,” which starts out as mere noise samples, then goes into traditional song structure, and then fades back into the samples once again. Unfortunately, it’s not really a classic song approach for the band, and you won’t get a chance to really hear them pull off in that direction again until “I Can Be a Frog,” but you really don’t get too far into the song itself, due to the fact that you’re spending most of your time trying to catch the noises that correlate to Wayne’s lyrics.  Even “Silver Trembling Hands” isn’t a straight-forward song, and it was the single.  Take out the vocals, and you have the rest of the album in your hands.  No lie.

So what makes up the majority of this album you might ask?  Well, if I were The Flaming Lips, and I were constructing this album, or explaining away its secret recipe, I would do it as such:  2 Parts Flaming Lips, 1 Parts M83, 1 Parts Battles, 1 Part Liars/Deerhunter, 2 Pandering to Noise Fans, 1 Part Throwaways.  You probably bake it in the studio for several years just to make it come out the way you want.

Now, don’t get me wrong, the lack of originality on this album, as far as where my ears hear the sounds coming from, is that very few people could execute an album precisely the way this group did.  Their fusion of sampling, pop, psychedelia, jazz, noise, etc comes off successfully, without really exhibiting  a lull in the album.  If anyone could construct such a concept in their mind, and then pull if off, it had to be the guys that put together Zaireeka.

Sure, there aren’t any classic gems, like most of us really wanted to get the band to toss our way, but there is no denying that beneath the sinister construction of this noise, something beautiful will come to fruition.  Will I be the one to see that beauty?  Maybe so.  As of now, I’m still trying to figure out who on Warner Brothers tried to explain Embryonic to the bosses on behalf of The Flaming Lips because I’m having trouble enough explaing it to myself, let alone anyone who reads this.

[audio:https://austintownhall.com/wp-content/uploads/2009/07/03-silver-trembling-hands-1.mp3]

Download: Flaming Lips – Silver Trembling Hands [MP3]

Thomas Function – In the Valley of Sickness

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Thomas _F_Cover_StickerMockupRating: ★★★★☆

When I fell across the Alabama outfit Thomas Function last year at SXSW, I absolutely loved what they brought to the live performance.  Their vibrant energy and jangling guitars brought so much force that it was hard to ignore them.  So when Fat Possum sent me their new album, In the Valley of Sickness, I was eager to see if their live stage presence would carry over the recorded material.  Surprisingly, sort of, they do live up to my expectations, if not exceed them.

As soon as you hear the vocals, you’ll recognize them, at least if you’ve been hanging out in the Austin area for the last few years.  The voice sounds exactly like The Strange Boys, with a whole lot of Southern influence, but just a touch more clarity than the Austin kids. Sure, they sound a bit off-kilter, but the energy hiding behind the vocals is enough to push the music along.

As you go track by track through this album, you can tell that these boys are all about having a little it of fun, which is great to see, as this is the least arty record to come out this year.  “Day in the Shade” comes at you full force, and it almost seems as if these boys are going so fast that they are bound to run off the tracks at any moment.  Still, they hold back just enough to finish the song.  You also can’t deny the humor from this album, which shows once again, that Thomas Function is just out there enjoying their rock n’ roll lifestyle.  On “Picking Scabs” the call of “are you going to buy a record or not” seems to show that these boys know their place in the music world, and if you help support them, you’ll keep them out on the road to rock for years to come.

For me, I can’t really go on with this review without mentioning “Belly of the Beast.”  It’s like mellow power-pop with a twist from the Deep South.  Backing vocals are used to perfection, and touches of organ don’t ever seem to hurt a song with jangling guitars.  Similarly, “Two Pigs” is another such tune that shows the band’s abilities, even when they aren’t going full force in your face. Holding back seems to suit the group, if not only to show their diversity as songwriters.  These two songs fit perfectly into the album, and by filling out the sound, it shows Thomas Function knows no bounds.

For all those kids who loved the early Kings of Leon albums, or just enjoy a touch of Southern rock in their punk, you’ll want to find your way to a record store to get your hands on In the Valley of Sickness.  This group is far and above one of the more enjoyable listens for this year, and you’ll treasure all the foot-stomping moments Thomas Function gives you for the rest of your days.

[audio:https://austintownhall.com/wp-content/uploads/2009/10/06-Belly-Of-The-Beast-1.mp3]

Download: Thomas Function – Belly Of The Beast [MP3]

The Clientele – Bonfires on the Heath

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clienteleRating: ★★★½☆

A short while ago, there was discussion that the UK group, The Clientele, would be calling it quits, and perhaps this is still true.  Regardless, I was taken aback, and a little saddened.  I’ve been listening to the group, and their pop soundscapes for some time, so I was happy to know that if they were calling it quits that I would least get one more album; that record being Bonfires on the Heath.

Not surprisingly, the group brought out the same old same old on their latest release, which isn’t entirely a bad thing in my book.  This is one group that’s never needed to change, no matter what they put out.  One should note, however, that their musical etchings are as detailed as the cover art to the current album, layer upon layer of sounds molded together to create one entity.

As I listen to “I Wonder Who We Are,” the opening track, I can’t help but notice that they share some odd similarities to my faves, Belle and Sebastian. Jangling guitars, and a knack for making mono-syllabic lyrics fit so well into the song structure, but what I think is still holding the band back this time is Alisdair Maclean’s vocals.  For some reason they just don’t always seem to fit the music; there’s no correlation at times.

Still, this is the perfect fall piece of music.  As each night brings a variance in weather, so too, does this album.  It’s as if you’re walking with the group through each of their songs.  The title track slowly meanders, as one would on a simple walk through the neighborhood on one of those cool windy nights.  You see, it’s hard to tie down the precise sound of this album, or any of its songs, as you’re clearly affected by the mood they successfully create.

If you had to pick out a standout track here, for me, it would be “Jennifer and Julia.”  It is the one song that I think epitomizes the years of work this group has put into their songwriting.  Subtle horn backing and Maclean’s vocals all seem to fall perfectly into alignment on this album.  This song is what makes you fall in love with this band, and it’s great to see that despite the years, and possible break-up, that they still have the knack for writing something as sublime as this.

Sure, there are tracks one can dismiss, like “Sketch,” which is a track that seems like simple album filler, but when you come to something like “Never Saw Them Before” you can clearly see what people enjoyed about this band from the get go.  If you’re looking for one of those records that changes as often as you do, but clearly keeps you grounded, then you’ll want to check out Bonfires on the Heath, a culmination of pristine, moody pop, years in the making by The Clientele.

[audio:https://austintownhall.com/wp-content/uploads/2009/10/05-Jennifer-And-Julia.mp3]

Download: The Clientele – Jennifer And Julia [MP3]

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