Tag: album review

The Raveonettes – In and Out of Control

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The_Raveonettes_In_and_Out_of_Control_ViceRating: ★★★★☆

Listening to the history of The Raveonettes, I can easily see why I have remained indifferent with their career, that is up until this point in time.  They’re a band that seems to revel in their discoveries of various genres, perhaps so much so that one cannot listen to their albums without feeling nostalgic for the traditional influences.  In the past, they’ve come across as a band of mere mimicry, bordering on unoriginality and banality.  That all changed when I popped on In and Out of Control.

Once “Bang” hits your ears, it’s clear that the band brought something else to the table this time around.  Bouncing rhythms run throughout the song, and the sunshine of California seem to reverberate from the vocals.  It’s clearly a fun song; a tune to let your hair down.

So, instead of treading the same ground, they go off into a more fuzzy pop gem with “Gone Forever.”  It clearly sounds like a Pains of Being Pure at Heart song, minus the echo and atmospherics.  Okay, so maybe the echo is there in the vocals, but they are so distinguishable, you can easily attach yourself to the content, should you choose to do so. And such a sweet chorus.  They stay in the same spectrum with “Last Dance,” which is possibly one of the catchiest songs you’ll hear this year.  It won’t blow you away, but you won’t mind listening to it time and time again, garnering a number worthy of year end lists.

For once, the fact that the group doesn’t seem to stay in one place actually works.  It doesn’t veer off too far from where they began, which allows you to see the lines drawn in the songwriting that connect the album together as a whole.  But, the differentiation is wholly refreshing from The Raveonettes. Even the quick “I Buried You Today” is just another mark of a band that clearly is willing to define this record on their terms.

Out of nowhere, this band seems to have escaped the monotony of their past.  At times, what they seem to do here is quite invigorating, as the band finally has the courage to step beyond the shadows of their influences.  This is new ground for them, and it makes for a remarkable listen.  All the songs have a bounce, yet they all seem stylistically different; the fact that the band isn’t trapped for once seems to have freed them to progress in a direction I never expected.  It’s hard with this approach to expect the Joan Jett chorus on “Breaking Into Cars,” just know you’ll love it.

So you can’t be sure where the material from In and Out of Control came from, but one thing can be assured for all listeners.  You’ll find this as a record which allows you to sink into, if the mood so allows, and not get bogged down by nostalgic dreams of the golden days of music…though those influences are still walking around in the background. Now’s the time ladies and gentleman to get on board with The Raveonettes.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/The-Raveonettes-Last-Dance.mp3]

Download: The Raveonettes – Last Dance [MP3]

Headlights – Wildlife

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headlights-wildlifeRating: ★★★☆☆

When Headlights released Some Racing, Some Stopping, they showed hints of absolute pop glory.  “Cherry Tulips” was one of the best songs I heard that year, and I still use it, but could they build on the continued promise and move forward with their third album Wildlife?

Whilst recording the album, turmoil struck the band, and they lost a guitarist, so it won’t surprise many to see this album as a side-step, rather than a natural progression.  Erin Fein’s presence is definitely felt here more prominently than I expected, as each song is filled to the brim with her fusion of keyboards and angelic vocals. Don’t get me wrong, it’s not a record you can dismiss, it just doesn’t necessarily live up to the dreams in my head; then again, little does.

“Secrets” is one of the songs you’ll definitely fall in love with once you get your hands, and ears, on it.  Slowly it builds with keyboards and rimshots, but the faster the handclaps go, the faster the song seems to pick up the pace, before it bursts forth.   Juxtaposed to this tune is “You and Eye,” which builds on some of the haziness from the band’s first album, Kill Them With Kindness.  It’s a song that seems to trod along, built upon the voice of Fein and her little electronic flourishes.

One of the standout tracks comes just as early, but the oddity here is that Tristan Wraight seems to take the spotlight from Fein.  His voice recalls the sunny-side of pop music, and the song is structured carefully around the percussion and guitar work.  This definitely is the direction I saw the band heading when I got my hands on this album, but unfortunately it’s one of the distinct moments, only because there aren’t many songs that live up to it on Wildlife.

By the middle album, the group seems to have taken the middle ground between Emily Haines solo work and Stars. Not all will find this as a disappointment, as those bands deserve as much acclaim as they get.  But, the problem with songs such as “Long Song for Buddy” or “Wisconsin Beaches,” which is an acoustic number, is not that they aren’t enjoyable or artistic, but rather that they seem to be a lackluster performance in comparison to the brighter moments of the record, and the promise of the record before.  Clearly, the lyrics point to a darker side of the human relationship, dealing with love and loss throughout as the subject matter, but one can still discuss such things with a certain panache.  The fact that it’s not there is what holds this album back from being one of the great indie-pop albums of the year, but if you take a careful look inside, you’ll find that Headlights have left you with plenty to be happy about.

[audio:https://austintownhall.com/wp-content/uploads/2009/10/04-Get-Going.mp3]

Download: Headlights – Get Going [MP3]

The Dutchess & the Duke – Sunset/Sunrise

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dutchess-duke-sunset-sunriseRating: ★★★★½

When The Dutchess and the Duke burst onto the scene last year, creating havoc for every person using Microsoft Word, we couldn’t have been happier.  Their acoustic duets recalled The Rolling Stones, but with a little bit more with portrayed in the lyrics. Now, they return, with their second album, Sunset/Sunrise, willing to do it all again.

“Hands” opens the album, and it’s clear that the sun has gone down on this duo.  Lyrical messages hint at dark times for the narrator, but as the chorus bursts through, you see the same formula from the hits off their first album. Sure, there is a hint of guitar soloing, but it’s just enough to show hints of change, without altering the game completely.

“Scorpio” exists as one of the finest moments on the album; you would call it the brightest were it not for the lyrical imagery.  Flourishes of orchestration (a violin perhaps) fittingly add a bit of melancholic tone to the tune, hinting at the gravity which exists at the heart of the song.  So when you come across “Living This Life” you can see that the distance referenced in “Scorpio” has finally come to sit in with the band.  Everything about this album seems to exemplify a distance, be that with family or lovers. As the guitar meanders, seemingly over a horizon afar, you can feel the emotional change of the group.

As you hit the album’s almost title track, “Sunrise/Sunset,” the picture of a shift in the writing process has come to complete fruition.  Kimberly Morrison has taken over vocal duties for this song, as well as “When You Leave My Arms” Although her smoky vocals are a perfect accompaniment to Jesse Lortz, these two songs demonstrate that she has a knack for pulling every bit of emotion out of her songs.  It’s a refreshing twist to Sunset/Sunrise, clearly deepening the repertoire of the group, rather than labeling them as re-hashers of classic rock.

Unlike the last album, which hit you in the face real hard up front, the new record seems extremely even. From start to finish, there seems to be some sort of focal point for the group that allows for such balance, which ultimately might make this album stronger than its predecessor.  And you come to the perfect ending with “The River.”  The song is treated by some soft touches of piano, perhaps providing it with a touch of the epic ending.  Ultimately, this song serves as a summary for the album.  Questioning one’s existence, and one’s relationships to loved ones, all wrapped up in one final tune.  Perhaps it was written for the soon to be child of Lortz, who, like us, will look on Sunset/Sunrise with pride, longing, and perhaps a little bit of reflection.

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

Download: The Dutchess and the Duke – The River [MP3]

Richard Hawley – Truelove’s Gutter

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Richard-Hawley-Trueloves-Gutter-483869Rating: ★★★★½

After he released Lady’s Bridge, it seemed that the British crooner Richard Hawley could do no wrong with me.  As the release drew near for Truelove’s Gutter, I wasn’t quite sure what I expected from this new record.  Would it be similar to his previous work, or would he branch out into a new direction, much as his friend Jarvis Cocker has done?

Well, as the odd soundscape opening of “As the Dawn Breaks” began, I will say that anxiety crept into my throat.  Sure, this dabbling in sonic structuralism was indeed a new direction, but from a man who has blanketed his albums with lush orchestration, it seemed a step too far off.  Still, as the song progressed, the music almost loses its focus, bring Hawley’s throaty baritone to the forefront. Perhaps this is where the album would go?

When “Open Up Your Door” came on, you could hear the instrumentation that so often backs Richard, although it seemed to be in the distance here, that is until the slow drum work came into the picture.  It’s at this point that I found Hawley completely stepping into the role of a modern-day Leonard Cohen. You hang on every syllable, on every gentle note; and eventually, it all breaks into the dense orchestral movement you would expect.

It seems fitting to me that this record was already causing me to waiver on my decision to love this album or not.  Richard Hawley is not a taste for everyone, though surely everyone can find beauty in his voice, which sounds as guttural as anything you’re likely to find out there.  Perhaps the way the instruments traipse about, barely catching your attention until the song requires them to do so, seems striking to most. Almost unimportant. But, how can such songs evoke so much emotional toll on a listener?  It made Cohen great. It made, for some, Waits a classic.  Surely Richard Hawley will find his place, though his lyrics are that of the forlorn lover.

And so it went, to the point where I arrived at “Remorse Code,” the second longest song on Truelove’s Gutter. How does a nine minute long ballad capture you, wrap you around its finger, and throw you upon its back until the end. Listening to the subtle guitar work, I found no answer, only that I adored this song absolutely, as I adore the man singing the words.  I didn’t have to go far, one song past, to find “Soldier On.”  There’s some biblical allusions here, or at least some references to Christianity, though not in the overt sense. Hawley seemingly walks through this album, pacing himself, creating tension for the listener. It’s as if we’re merely meandering through this tune, until you reach just past the four minute mark where the song crashes into you.  It releases you in a wash of cymbals and emotions.

By backing it all into the finer moment that is “For Your Lover Give Some Time.”  I don’t particularly want to go into the detail of this song, as I’m sure, as with most Hawley tunes, each person will get out of it what they will.  It’s such a personal song, for me as a listener, that I don’t dare ruin your impression of it, or what it may offer you.

Thus the album walks into the longest song, the perfect ending to Truelove’s Gutter. The epic failure that could be this album’s bookend is not there.  Although it may be long, it encapsulates everything you wanted from the end.  Your time with Richard Hawley has come to an end, and though you want it to last forever, you needn’t fret, as you can simply relive it time and time again by pressing repeat.  I know I will.

[audio:https://austintownhall.com/wp-content/uploads/2009/09/07-For-Your-Lover-Give-Some-Time-1.mp3]

Download: Richard Hawley – For Your Lover Give Some Time [MP3]

The Twilight Sad – Forget the Night Ahead

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twilightsadRating: ★★★★☆

From the depths of the Glasgow music scene burst forth another band in 2003.  Since then, The Twilight Sad have slowly been building up a reputation for their melodic rock meets shoegaze, creating beauty surrounded by squalling guitars.  Fourteen Autumns and Fifteen Winters won over many critics, and the world was eager to see if Forget the Night Ahead could keep the band riding the wave of popularity into the hearts and ears of everyone.

As “Reflection of the Television” opens the album up, you can see the screaming feedback you can see that the band still has some of their traditional elements in place.  But, you will also notice that those elements no longer live in the foreground of the song, as they did on previous efforts.  Singer James Graham now has his vocals standing before you for all to see, and while it dramatically changes the aesthetics of the release, you still catch onto the power of music.

“I Became a Prostitute” is the band’s first single off this album, and you can see that it definitely has a presence that can rise above the indie status. Like Glasvegas, it’s a grandiose number full of wave upon wave of guitars accompanied by Graham’s vocals, which just so happen to crash atop the song as well during the chorus.  All in all, it’s a softer approach to writing than the group took in the past, but for most listeners, you will find that it’s equally as effective.

Fortunately for us, this album is longer than their previous affairs, despite the fact that each song reaches well beyond the mark of 3 minutes, with most running near the five minute mark. However, the dynamics of the atmospheric guitar flourishes combined with Graham’s new vocal presence do make some of the songs blend into one another, making it hard to differentiate between the album’s best numbers.  Don’t take this to mean that there aren’t standout tracks in abundance.

“That Birthday Present” is a clever song, with the majority of the tune relishing in the bouncy guitar work.  All this comes to light even though this also happens to be one of the noisier songs on the record.  The Twilight Sad at this point seem sort of like a cross between M83 and Mogwai, except they rely upon a more traditional songwriting structure.  It allows their songs to breathe, instead of wallowing before they fade into obscurity like other bands that implement noise attacks.

“Floorboards Under the Bed” is different than most tunes you’ll find in the groups catalogue.  It seems to wear the influence of tour-mates Frightened Rabbit, but then it fades into a piece of tinkering flare.  Albeit an interesting opening, the song quickly disappears into the back of your mind.  All the build up will lead you into the final three tracks.  Of the final three, “The Neighbours Can’t Breathe” is the stand out, although the closer, “At the Burnside,” has an emotional appeal, with a hint of Glaswegian balladry wrapping it all up.

This album has some really beautiful moments, more than way out the few weak points.  The Twilight Sad are able to build upon their own sound, pushing the shoegazing into the realm of a more pop-centric world, and Forget the Night Ahead wins because of its ability to step into these new realms, encouraging the band to become more than just another stagnant noise-rock act.

[audio:https://austintownhall.com/wp-content/uploads/2009/05/reflection-of-the-television-1.mp3]

Download: The Twilight Sad – Reflection of the Television [MP3]

Pains of Being Pure at Heart – Higher Than the Stars EP

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painsRating: ★★★★☆

After speaking with Kip, we realized that this EP was something to really look forward to, as this entire EP includes new songs from 2009 darlings The Pains of Being Pure at Heart.     You can’t not want more tunes from these guys can you?  So here we have Higher Than the Stars, song by song.

This EP opens with the title track, “Higher Than the Stars.”  It opens with a noticeable keyboard programmed atop the steady drumming and hazy guitar.  Kip’s vocals are extremely soft here, almost kept to a whisper.  You’ll find that some of the guitar tones are really bright, which is what makes the group a pop band afterall!

Following the opener is “103.”  This is the track that most closely resembles the group’s stylings on their debut LP.  Once again, you can heat the march of the drums, and instead of the hazy guitars, this time around you get more of that earth-shattering atmospheric guitar sound, with a nice little solo blaring through it all near the end of the tune.

Personally, “Falling Over” is where it’s at on this EP.  It’s got a lot of that classic 80s jangle-pop mentality, but with the influence of someone like the Happy Mondays, bringing in a little bit of dance into your clasic guitar song.  The chorus is perfectly fitting to the concept of the song, placing it squarely in the past–for some reason I hear someone like New Order or the Pet Shop Boys rocking this chorus. 

Our fourth track is somewhat of a new nostalgic approach.  It’s less jangle-pop than previous records, and it demonstrates that The Pains of Being Pure at Heart are more than just one trick ponies.  The lack of clarity on the guitar here recalls the likes of The Stone Roses or Teenage Fanclub. It’s an American Britpop song.

For the final track, you get a little remix of “Higher Than the Stars,” done by St. Etienne and Lord Spank.  It doesn’t add too much to the original track, other than a steady dance beat, and a little bit more time.  It’s not an awful track by any mean, just dismissable in comparison to the previous four tracks.

Overall, the wonderful thing about this release is that it gives way to a new horizon for the group.  They haven’t foudn themselves stuck in one place, destined to release the same thing over and over again.  It makes it rather enjoyable for us all.

[audio:https://austintownhall.com/wp-content/uploads/2009/09/pains-higher-than-the-stars.mp3]

Download: Pains of Being Pure at Heart – Higher Than the Stars [MP3]

Girls – Album

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TRUE-010-Girls-Album-smallRating: ★★★★½

You’ve all heard of the San Francisco duo, now set up to include two more bros from California to complete the band Girls.  They’ve been posted about, not just on our site, but on every other web site across the web, and people have been buzzing about this record for a long time.  So here we have Album, the group’s first full length, and surprisingly, they hit exactly the mark they were set up to miss.

Opening an album with one of the competitors for song of the year is never a bad way to begin, and “Lust for Life” fulfills from the start. Jangling guitars and the backbeat of beach music, create one of the catchiest numbers in 2009.  And, the subject matter, though not the most poetic, seems rife with optimism, and the band are ready to “make a brand new start.”

So you slide into “Laura,” and you can see a possible drawback as soon as singer Christopher Owens opens up is album.  He’s got a voice that doesn’t ever seem to hit a note, but its those imperfections that seem to make the record continuously successful.  It’s reminiscent of countless indie singers, singing with the only tool they’ve got, and despite the occasional off-kilter note, their exists a certain honesty which makes it all so endearing.

Adding another element to the mix is the group’s diversity within their own lo-fi spectrum.  “Ghost Mouth” is the ballad, slowly waltzing through a hazy bit of light guitars and mellow percussion. From here, they switch it up by adding a bit of art and obscurity to their own li-fi spin on “God Damned.”  Then, they blast off down the stretch of California coastal highways on “BIg Bad Mean Motherfucker, kicking out the traditional surf rock.  All this building to the perfect opus that is “Hellhole Ratrace.” As those who caught wind of this tune months prior to the album’s release can attest, you’ll be hard pressed to find another drawn out song, with such simple lyrics, that can draw you into it time and time again.  Hell yeah it’s repetitive, but it’s so rewarding that the group might just be giving Phoenix a run for their money by releasing two great singles on one album.

Still, they never seem to be a static band, rarely staying in one place throughout the entire album.  In a time when a lot of music comes off redundant on albums, this one seems to offer something new around every little corner. “Lauren Marie,” for instance, is a sparse number with little else to add to it other than Owens continuous cooing of the name Lauren Marie. Yet, you’ll take your time to listen to it over and over again.  But, they continue their change-ups with “Morning Light,” with it’s fuzzy full throttle take on the straight ahead pop tune. This is precisely why Girls seem to be one of the few bands coming to us by way of the endless hype machine that can truly back up the world’s adoration by placing us into such an enjoyable listen.  You’ll surely find yourself listening to Album time and time again.

[audio:https://austintownhall.com/wp-content/uploads/2009/06/01-lust-for-life.mp3]

Download: Girls – Lust for Life [MP3]

Mason Jennings – Blood of Man

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masonRating: ★★★½☆

When Mason Jennings first released In the Ever, I couldn’t have been more disappointed.  The album seemed forced and overproduced–it lacked all the personality that I felt made Mason Jennings so special.  I even vowed never to give him my money again, unless I previewed his work prior to purchase.  Well, I gave in to my longing for Mason and got my hands on Blood of Man.

Upon the first listen all the way through, I paused momentarily, trying to wrap my head around the record, almost confused.  I came to the decision that this album seemed like a collection of really good demos.  There was an evident rawness to the writing, and the recording (drums especially) that brought back a whole lot of that character that sparked the flame of fandom within me so long ago.

Sure, the first song sort of seems like Mason is channeling that Eddie Vedder character people are so into, but the rest of the album wears that warmth of his vocal inflection that makes his music seem so unique.  Everything about Blood of Man seems completely natural and not forced.  This is more Use Your Voice era Mason than it is anything else, and I’m frankly relieved to see him heading back to that hallowed ground.

That being said, there are some odd missteps here, and I don’t necessary see them as bad things, but just really unexpected moments.  For instance, “Ain’t No Friend of Mine” appears like a sort of Dead Weather stomp with a splash of Mason.  Even his vocals have a little hint of Mr. White. Still, the dude’s been putting out tunes, so you can’t blame him for trying something entirely new.  Just be happy he seems to have steered far away from the land of Jack Johnson and other like-minded hacks.

What comes as a great surprise on this album is that Mason Jennings wraps it up perfectly by including some of his best efforts, as of late, on the end of the album.  You won’t find a more fitting tune for resolving personal crisis than “Lonely Road.”  And ending the entire record with “Blood of Man” shows how the simplest tunes are still the heart and soul of this singer/songwriter.  It’s just he and a guitar, and I guess that’s the way it always seems like it should have been.

So it seems that Mason Jennings has come around full circle.  He’s back to where he began, though with a bit of growth and maturity beneath his belt.  It makes this a great addition to his entire catalogue.  I’m glad I picked up Blood of Man.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/the-field-1.mp3]

Download: Mason Jennings – The Field [MP3]

Why? – Eskimo Snow

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whyeskimoRating: ★★½☆☆

Following their critically acclaimed third LP, Alopecia, Berkeley, California’s Why? return with Eskimo Snow, a new collection of hip hop infused indie rock.

The word “new” may be misleading because the tracks on Eskimo Snow were recorded during the same sessions as 2008’s Alopecia.  One might think that songs recorded in the same session would carry familiar ties between them, and sure there are similarities, most notably singer/MC Jonathan “Yoni” Wolf’s distinct voice, but, for the most part the bulk of the similarities end there.  I guess the clearest example would be explained like this: Eskimo Snow : Amnesiac :: Alopecia : Kid A.  Radiohead, on Kid A, was focused with a clear vision and while Alopecia isn’t a high concept album it shares the same focus.  Yoni Wolf spits self-deprecating, acid tongued rhymes that tell tales of loneliness and depravity.

On Eskimo Snow, like Radiohead on Amnesiac, Why? offer up a much looser collection of songs, and while these songs aren’t bad they also don’t make up a very cohesive release. Wolf mostly abandons the rhymes for traditionally sung vocals.  In an interview with Pitchfork, Wolf noted that his work on Eskimo Snow was “the least hip-hop out of anything I’ve ever been involved with”.

There are several tracks, such as ‘Against Me’, ‘These Hands’, and ‘The Blackest Purse’ that are reminiscent of the bands earlier work.  I would have much preferred a tight EP, rather than this meandering album.  I am looking forward to their next release with a truly new batch of songs.

Why? will be performing Sunday, November 8th at Fun Fun Fun Fest. They take the Orange Stage at 3:50 p.m.

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

Download: Why? – Against Me [MP3]

Sunny Day Real Estate – Diary

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sunnyRating: ★★★★½

Long before emo was a curse word that you said to your friends, there were brilliant bands that were making the new genre respectable. Yes, 1994, and the music was absent of the whining and glam make-up.  Only one band really stands out in the early years, or at least has the ability to withstand the years of badmouthing: Sunny Day Real Estate. Diary was their debut, and although they may not have been able to top it, it’s the one album that stands the test of time, forever cementing the band’s legacy.

One of the most outstanding landmarks on this album is the superb drum work of William Goldsmith.  His drums fills are technically tight, and he sounds as if he hits harder than anyone else around. Each time the cymbal crashes, you can’t help but fall in love. Just listen to his work on the album opener, “Seven,” and you will be sold.  If not there, move to the next track, and the next; you will only gain more respect for Goldsmith as an underrated drummer.

One of the unique elements of Diary is the ability for the band to move back and forth between their soft and hard moments.  As the powerful “In Circles” comes to an end, you’re greeted by “Song About an Angel.”  It begins with singer Jeremy Enigk’s melancholy gentleness sort of wooing the listener, but steadily the band builds.  Enigk’s sparkling shriek breaks in, crashing upon your ears just as hard as Goldsmith behind his drum kit.

And herein lies the secret of the band’s success, even back during the early days of emo. Jeremy Enigk was, and remains, one of the most dynamic singers ever to walk the stage.  When he sings on key, you can immediately discern the power of his pipes, but he’s not a one-trick pony.  Let him break through with his recognizable belting, and you’ll see just why he captivated so many people for so long.

For me, looking back on this album, one of the aspects I love the most come in songs like “Rounds” or the aforementioned “Song About an Angel.”  Slowly, the band walks into a song, barely moving you, resting quietly on Enigk’s vocals.  Soon, the pace begins to pick up, bursting forth into an eruptive chorus.  And somehow, they even manage to break the formula near the end of the song, steering clear of the chorus altogether.  It all comes to rest upon Enigk’s voice.

We should be thankful that such an album was made, and even more grateful that Sub Pop opted to re-release the band’s work, with bonus tracks no less.  You can now find yourself vinyl copies of some of the most revered albums of the early 90s.  If you missed getting into Diary back in the day, then now is your chance.  Do it for yourself, and you’ll be happy.  If you happen to own it already, revisit, and you’ll gladly find that the band is more than nostalgia.  Sunny Day Real Estate sounds interesting and unique even today.

[audio:https://austintownhall.com/wp-content/uploads/2009/09/09-48.mp3]

Download: Sunny Day Real Estate – 48 [MP3]

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