Tag: album review

King Khan & the Shrines – Idle No More

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king16Rating: ★★★☆☆

Well into a decade’s worth of an impressive career, it seems as if King Khan is slowing down a bit.  Not only does this reference his musical output, but also the pacing of the songs on the latest King Khan & the Shrines record, Idle No More.  The psychotic garage/blues infusion seems much more reined in here, leaving some great slow burners, but nothing with the frenetic energy of previous albums.

“Born to Die” opens with a sitar, which seems like the perfect prelude to a booty-shaking track from King Khan, yet it never goes quite in that direction. Sure, there’s some pedal work on the guitar and a bit of a stomp, but there’s no ferocity here; it’s rather a tame song, though by means a bad one.  Unfortunately, that seems to be the theme on this record: good tracks, though nothing great. “Bite My Tongue” follows, and it floats along in a similar manner as its predecessor.  It’s got parts that are fairly catchy, lyrically speaking, but musically, it seems to miss that killer punch that you’d get from a song like “Torture.”  However, the R&B influenced tracks are much stronger and focused, making them the standout tunes on the album.

Yes, KK has always had a huge soul/R&B influence, but I think one of his most successful takes comes on Idle No More in the form of “Darkness.”  I love how the track barely moves beyond guitar and vocals until the 1 minute mark where you get the emotional release from the introduction of horns and light percussion.  Of course, it lurks back into its quiet form, but that again builds towards that soulful explosion.  And, as if we needed more proof of the group’s love for classic R&B, then you don’t have to go further; “Pray for Lil” is waiting for you.  It’s definitely got the Shrines working the horn section, and King Khan bringing his own vocal touches, but the main vocal performance is remarkable.  It might just be my favorite track on the LP.

I don’t want to be too harsh on King Khan & the Shrines because there’s a lot of music on here that I really enjoy, such as “So Wild” or “Yes I Can’t.” The deviant attitude is still visible, the songwriting is successful…I just wanted more of a punch.  It’s as if Idle No More was created for more of a high school prom, rather than some dingy club filled with joyous dancers.  For me, this whole record shows a band writing good songs, but without the madness that was present in previous years, it’s just that, a good record. Not a great one.

Bad Sports – Bras

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badsportRating: ★★★★☆

The last time we all heard from Bad Sports was with Kings of the Weekend.  In the end, it was an enduring record, that although solid, might have rang a little bit too much like a one-trick pony.  But, now that the band are back with Bras, you can rest assured that you’re not getting the same trick over and over; the boys have changed things up, leaving us with a refreshing bit of rock n’ roll.

Bras begins with “Get You” and “Washed Up,” which wear the clothes of the group’s first record.  It’s quick punk-influenced rock n’ roll of the garage ilk, though the drumming stands out on these two tracks.  As always, the band demonstrates their knack for wrapping their fury in catchy hooks built to please sweat drenched crowds willing to throw caution to the wind.

By the time that Bad Sports find themselves at the third track, they start to cross into new sonic realms. “Nothing In This World” is more of a power-pop track than anything the band have done to date, though by speeding things up in their own style, they maintain their tough street cred.  But, it’s “Let Me In” where you’ll really see the changes. The track starts out with a dwindling guitar and vocal before it bounces into anthemic pop goodness.  There’s even a bit of swing to the sound of the guitar as the song progresses.  This all backs into “Back In Time;” this track definitely has the influence of glam rock power ballads.  It’s refreshing to see the change in the group, aiding the enduring quality of this LP.

It’s hard to ignore a single track on Bras in the long run.  Each one leaves a trail of breadcrumbs across the underground musical landscape, though they all have this pop sensibility built for screaming fans crammed into tight spaces.  I can’t wait to catch these guys in the act and sing the chorus to “Terrible Place;” I’ll probably be pumping my fists throughout.  Oh, and if the bubbling bass line in “Rockin’ the Noise,” I have a feeling we’ll all be bouncing about, rubbing elbows with each other like only great music can make us do.

For me, I think the latest record from Bad Sports is worthy of everyone’s time.  It might have been true that the group was nodding to punk rock fans early on in their career, but the direction that Bras takes leaves no doubt that the band just want us all to join in on the fun.  It’s rock n’ roll in the best sense, using great drumming, sing-a-long anthems and working-class grit that will leave you thirsting for more.  Go on, press repeat. You’ll thank them later.

[audio:https://austintownhall.com/wp-content/uploads/2013/08/08-Terrible-Place.mp3]

Download: Bad Sports – Terrible Place [MP3]

Crocodiles – Crimes of Passion

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crimesofpassionRating: ★★★½☆

When looking at the musical history of Crocodiles, you can say there have been three stages.  The first stage has roots in the records one and two, filled with reverb and a wash of noise.  Then they started to clean things up a little bit on Endless Flowers, and they’ve finally progressed to the the latest stage with Crimes of Passion, creating a collection of songs that wears their influences boldly whilst pushing further into the realms of pop sensibility.

On my first jam to “I Like It in the Dark,” I really thought this was some experimental version of early Brit-pop.  The vocals definitely wear that influence, as do the piano touches jumping in and out of the track.  It’s clear at this point that Crimes of Passion is still to go further into pop songwriting, although I appreciate that they haven’t completely abandoned their penchant for extra layering, though this time with instruments as opposed to feedback noise.  Surprisingly, “Marquis de Sade” cleans things up completely, giving us one of the most straightforward hits the group has composed to date, harkening to sunny Cali pop by using female backing vocals.  But, personally, I could do without the excess horn solo in there; it would ruin the song if it weren’t such a great tune all around.

I think one of the biggest changes for Crocodiles revolves around the delivery of the vocals.  You’d find the group coating the voice in the early stage, yet if you listen to “Heavy Metal Clouds” you can tell that the band are intent on making lyrics you can attach yourself to immediately.  There were glimmers of such a voice on the last LP, but they’ve been improved upon here, leaving listeners with an extra instrument to focus on…that of the voice. You’ll see the same attention to detail on “She Splits Me Up,” which just might be the prettiest song that the group has crafted to date.  Guitars on this track are angular, yet they have a tonal brightness that I find really appealing.

But, don’t think that Crimes of Passion is all shimmering pop goodness; you’ll still find songs with a bit of grit within.  “Gimme Some Annihilation” offers up the crunchiest guitar from the LP, featuring some of that trademark Crocs fuzz.  Still, while holding onto their past, it’s hard not to see that the band almost seems refreshing new with this track; it’s got an entirely different attitude now, as opposed to what you might find in the early stage. They give us noisy nods, just not too much.

Honestly, I see this as a record that’s going to sneak up and surprise a lot of people.  The band definitely tread water with their homage to Jesus and Mary Chain early on, but it seems now they’re looking forward to other popular Brit acts like the Stone Roses…seriously.  Crimes of Passion is a pop record; it just happens to be one filled with light elements of noise and experimentation, showing us all where Crocodiles once were, yet giving us a glimpse of where they are going.

Ski Lodge – Big Heart

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ski-lodge-big-heart-1Rating: ★★★★½

Admittedly, I’m a huge indiepop fan, so Ski Lodge didn’t have to do too much to win me over.  But, that being said, I was looking for consistency; I wanted Big Heart to be great through and through.  Some records, sadly, fade off in the end.  Lucky for me, and for you, Big Heart isn’t such an album; it’s consistent, consistently good.

“Anything to Hurt You” kicks things off right, bubbling and bouncing its way through, providing the perfect exuberance to balance out the soft croon of singer Andrew Marr.  There’s bright guitar licks too, plucked furiously, as if Marr can’t quite catch up; it’s an interesting effect, and one that works out successfully here.  Immediately following is “Boy,” which seems to have gotten lots of air-time and praise.  My ears see this as a warmer indiepop nod, with a sprawling chorus that highlights the softer side of Ski Lodge‘s music.  While I adore those mellow moments, I like when the band picks up the pace a bit.

There are several occasions when they do speed things up in just the right place on Big Heart, allowing for a change of pace.  The first time comes after the two previously mentioned tracks with “Looking For a Change.”  It might just be the way the guitars or played, or maybe it’s the drums, but there’s a new energy, although Marr’s vocals still provide that emotional pull fans will adore.  They pull it off again later in the album by way of “Just to Be Like You.”  The guitars here have a bit more of an angular approach, leading one to pull out your best Molly Ringwald dance moves before your bathroom mirror. Trust me, I did it.

Throughout, Ski Lodge seems to be scattered, but in a contained way.  They’ve provided glowing indiepop, backed by joyful numbers, all leading into the beautiful closing number, “I Can’t Tell.”  My first run through, I didn’t think this track fit.  But, I’m wrong.  It demonstrates the group’s willingness to push the boundaries of a genre that, while amazing, can grow a bit stale through excess exposure. Perhaps in closing the album, they’re giving us a picture of a future; I prefer to think of it as a statement of grandeur.  The goal to reach pop perfection is loftier here, and much appreciated by this listener, serving as a moment of finality.  Big Heart is over, and there’s no other way you could end this LP; it’s just perfect.

[soundcloud url=”http://api.soundcloud.com/tracks/89643166″ params=”color=ff6600&auto_play=false&show_artwork=false” width=” 100%” height=”166″ iframe=”true” /]

Minks – Tides End

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minks-tides-endRating: ★★★½☆

Those of you who reveled in the shadowy electronic pop of the first release by Minks might find this hard to swallow, but for all intents and purposes, Tides End is a pretty straightforward pop record.  Gone are the hazy vocals and coats of atmospherics, though the lyrical material still maintains a bit of darkness.  While some of the winter layering of the previous effort might have been shed, the core aesthetic remains the same, leaving listeners with a shimmering album for any time of day.

It’s hard not to notice the immediacy of the beats and the glittery touch as soon as you press play on Tides End.  “Romans” bursts forth with a beat built to pick up the feet on the dance floor, before Sonny Kilfoyle gently croons his way into the mix.  By the time you make it to the chorus, you’ll definitely notice similarities to surf-pop wunderkind The Drums (just my opinion). Still, this album succeeds in its ability to completely depart into a more accessible pop spectrum, such as you’ll hear on “Everything’s Fine.”  Ringing bits of guitar accentuate the beats, and you’ll find it hard not to get stuck with the simple chorus in your head. Personally, I like the slight bit of restraint, as the beats aren’t pounding down your door; they’re airy, yet full of merriment.

Really, you could write about any of the new songs from Minks in the same manner, praising their thoughtful approach to songwriting, allowing for the hooks to bloom, rather than be buried beneath over-processed studio touches. There are, however, a few songs that step outside the boundaries set forth by Kilfoyle on this release, such as “Painted Indians.”  It playfully drifted in, as many of the songs do, but then the forceful entry of the lyrics were surprising, in a good way.  It provided a touch of variation, even as the verses received the calm smoothing vocal Sonny seems to prefer on this go round.

My first go round, I definitely gravitated towards “Margot” as my favorite hit on Tides End, but the more I listen, and the more I notice the care in every twist and turn, the more often my favorite tends to change. Right now, I’m really digging the oddly exuberant “Doomed and Cool.”  Sure, there’s an obvious nostalgic bent, even with the guitar tones, but I’m not going to knock anyone for loving old school pop music.  You should probably listen to “Ark of Life” as well, just in case you’re looking for your favorite new love song.

I think a lot of people are going to be on the fence with Minks after this listen.  Their first album was dark, yet enchanting.  Tides End, well, it’s simply enchanting.  There’s no mystery to the pop sensibility, and in many ways, that makes it much more enduring, and endearing. And, if you’re looking to get snobby, one can go through the whole record twice, and not feel like you’ve listened to the same thing…such are the careful touches that were put into the production and writing of this record.  I assure you, given time, you’ll find yourself really enjoying the listen from start to finish.

[audio:https://austintownhall.com/wp-content/uploads/2013/05/02-Everything-s-Fine.mp3]

Download: Minks – Everything’s Fine [MP3]

Friendly Savages – O, Joshua

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Friendly Savages – Her Locket On A Chain 540910_436885409723088_195700355_nRating: ★★★☆☆

Austin’s Friendly Savages have been blossoming for some time, crafting folk music that spins humor and heartfelt lyrics into memorable songs for their swelling fan base.  With the release of O, Joshua, the band has made a statement that they’re going to be around for some time to come, filling 16 songs with care and purpose.

O, Joshua is filled with little orchestral snippets, meant to bridge the gap between statements and songs.  But, the first grand statement that visiting the listener’s ear comes via “Counted Lost.”  It’s a tune circling the idea that humans from time to time tend to wander, drifting from purpose or established norms.  Musically, it’s built around a loose piano and strummed guitar, but the tune picks up more speed near the end with the vocals coming across with a little more of a rasp, and a hurried musical approach. Such things remove a bit of the polish from the record, which surely provides for exuberant moments during the live setting.

Personally, I think the places that Friendly Savages excel revolve around their ability to come in on a whisper, then spring forward into a louder spectrum.  Such a moment occurs in “Trouble with Home,” as the songs opens very quietly, allowing the tension to build slowly before the group unites to create a full-room sound.  The excited finish to the track displays a band willing to push the boundaries of the folk genre. It also helps that the tune leads into my favorite song from the O, Joshua, “The Hold of the Lord on My Sparrow.”  It’s one of the softest tune, but it’s also, pardon the cliche, one of the prettiest tracks you’ll find featured in this collection of songs.  It moves slowly, with the strings working in unison to warm your heart.

But, despite all the beautiful moments built into this listen, there are some areas where I think the group could move forward; I think they try to reach this realm on “Natchez Trace.”  The song, as per usual, begins gently, but during the chorus it takes a harder edge, employing drums to add a needed emphasis to the formula of Friendly Savages.  This isn’t to say that I don’t appreciate the pristine folk produced by the band, I just prefer a grittier element thrown in from time to time to allow for some musical diversity to break though.  Those moments come few and far between, but that’s just a personal gripe.

In the end, O, Joshua is a perfect statement by a band just starting to grow their brand. They’ve got the folk element down, and you’d be hard pressed to find other group’s crafting such an accessible version of the genre.  That being said, Friendly Savages have room to grow, meaning that this is just a first step to what I hope is a prosperous road for the Austin band.

[audio:https://austintownhall.com/wp-content/uploads/2013/07/03-Her-Locket-On-A-Chain.mp3]

Gambles – Far From Your Arms

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Gambles-Far From Your Arms-EP-COVER-highresRating: ★★★★☆

For the last year or so, the name of Matthew Siskin, and his Gambles project, has been on many a writer’s lips, or pens, or keyboards.  After spending several days holed up with his short Far From Your Arms EP, it’s clear to me that all his accolades and interest are warranted.  His EP is intimately moving, touching every corner of my oft darkened soul, awakening the spirit and faith in music/art once again.

“Trust” begins with a slow strumming, with Siskin’s voice wavering just atop.  At points, he seems to struggle, though not in a manner that turns people away.  Rather, I’ve been drawn closer into his sound, listening for every slight crack or every tarnished note, all reverberating a purity in songwriting that I’ve missed a lot lately.  While the pacing of the strumming provides a sensation of solemnity, he picks things up slightly moving forward.

His strumming of his acoustic takes a heavier-handed turn on “Safe Side,” though he alternates between that punchier strumming technique to quieted careful note picking.  But, when it’s loud, the sound is emphatic, yet his vocals turn intimate when he brings things to a hush.  He’s speaking to someone, or a character he knows, switching from a personal perspective to more of an omniscient thinker.  The closing whistle is an added touch of beauty.

Skipping ahead to the EP’s title track you’ll find what I consider one of the best two songs written this year.  “Far From Your Arms” is the perfect bit of modern folk music, both in its sonic approach and its emotional pull. As Matthew’s voice rises, ever so slightly, one can picture himself listening carefully in a smoke-filled pint-size room, holding your breath as every note is played.  Perhaps the song’s about a journey home, or the distance that divides us all, but regardless, it encapsulates everything I’ve ever dreamed of hearing. I imagine this song will play in my head and heart for some time.

What amazes me about listening to Far From Your Arms is how much I feel the impact and weight of the songs within.  Admittedly, I consume a lot of music, and it takes a lot for something to really really hit home.  But, in five short songs, Gambles has achieved that feat, with both the poetry in his lyrical content and the emotional pull of every chord.  This is a must listen for anyone.

[audio:https://austintownhall.com/wp-content/uploads/2013/07/04-Far-From-Your-Arms.mp3]

 

Part Time – PDA

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MEX130-Cover-500Rating: ★★★★☆

San Francisco’s Part Time already have one album under their belt, but it’s their newest record, PDA that really shows the group’s acceleration into the upper tier of small-time indie bands.  This collection of songs is filled with dreamy touches and swinging guitar lines that allow for musical escapism of the best sort, letting you drift into the caverns of your mind.

Opening numbers “I Want to Go” and “How Do I Move On” set the emotive quality of PDA, bringing in guitar lines that, while angular, maintain an essence of escapism, encouraging you to let yourself go as those chords seem to drift into the distance.  The haunting warmth of David Speck’s vocals on these tracks further push you into a state of mind that leaves you relaxed; these aren’t forced sounds, rather they unfold slowly as dream pop should.

Of course, Part Time isn’t here merely to lull you to sleep with their melodies.  They also push you towards that slow 80s body sway, especially on a song like “Living in the USA.”  For my two cents, this track wouldn’t be out-of-place in a lot of nostalgic dance collections, though it maintains a softer touch, perhaps perfect for a closing dance scene in a John Hughes flick.  Similarly, “Sonando de Ti,” uses the group’s synth-orchestrated backbone to kick things off into a sultry groove.  It never hurts, for this listener at least, to have lyrics thrown my way in Spanish.  But, while the group’s nod to the past is definitely fresh in sound, the group fares far better when they employ more prominent guitar work.

“I Belong to You” is the track from PDA that resonates the most.  The vocal delivery is lackadaisical, yet still has an element of smoothness to it that makes things endearing.  All the while the guitar chords provide a crisp cut throughout, increasing my willingness to float away in my mind with this number.  Also, the guitar chords make way for a wash of synths on and off, which serve a nice accent, but don’t dominate the track as they do in other spaces on the record.  Attention to detail goes a long way to making this one of the tracks that stands out in the ears of the listener.

While the opening moments hint at a collection full of dream pop hits, Part Time clearly has other place they’re willing to journey off into, such as “Funny Moods” with its bouncy rhythm.  This actually serves the whole of PDA well, as you don’t get stuck treading in one place, one sound.  You’ll find yourself getting carried away, yet you’ll be pulled into the songs as you explore the intimate details lurking here and there.  It all leaves you with a diverse listening experience that both excites you and allows for escapism…the perfect blend for a solid album.

[soundcloud url=”http://api.soundcloud.com/tracks/96457335″ params=”color=ff6600&auto_play=false&show_artwork=false” width=” 100%” height=”166″ iframe=”true” /]

Spectrals – Sob Story

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sobstory620Rating: ★★★☆☆

All signs from Spectrals were definitely leading up to this.  Bad Penny and the various EPs from Louis Jones hinted at his influences, but with Sob Story he executes everything perfectly, leaving listeners with classic pop sounds that are fitting for any time of day or year.

There’s a bit of guitar tinkering to open up Sob Story, but the warmth of Jones eventually makes its way through your speakers.  Ringing guitars and a stomping beat provide an energetic touch to Louis’ vocals, which seems to have a bit of a Southern drawl to it.  It builds the listener towards the immediate hit, “Heartbeat Behind. Chugging guitars offer a glimpse at traditional pub rock, yet the chorus pulls back with a softer side of things, rather than ramping up the speed for the expected release of tension.  This tune demonstrates the balance and care put forth in the songwriting, never going too far into one musical realm without venturing into another.

While the majority of the numbers on the latest Spectrals release are short and to the point, we do find Jones experimenting with more expansive songs.  “Sob Story” is his first go at this on the record, sprawling and slide-guitaring all the way beyond the five-minute mark. Vocally, there’s a bit of fragility, leaving Louis exposed.  He doesn’t shy away, however, weaving his words around the twang of the guitar by stretching out syllables in an endearing fashion. The 3 minute mark reveals just how special his writing has become, musically.  But, while this song exceeds expectations, the bread and butter on Sob Story comes from the more compact tunes.

Personally, I like the swagger of a song like “Blue Whatever.”  Guitars ring out in this song, while Jones executes the lyrical delivery perfectly, bringing a smoothness to the track that helps it maintain its balance; the lightest touch of backup vocals doesn’t hurt either.  And, in the best fashion, Spectrals deliver a stomping number with “Keep Your Magic” that shows just how much territory the outfit can cover, while still treading water in the pools of classic pop.  The attitude is the same with the following track, “Gentle,” although the heritage of the American West resonates again with bits of slide guitar thrown in for accent marks.

Throughout the whole of Sob Story you can see that Louis Jones has a story to tell. That story seems far away from his home in Leeds, instead opting for the landscape of American pop songwriting.  He sprinkles bits and pieces throughout, yet he holds it all together fairly well, leaving you with a Spectrals album that sounds varied, yet very much in one place; you’ll have fun letting your ears live in that space.

 

Vacation – Candy Waves

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vacationcandywavescoverRating: ★★★☆☆

Don Giovanni Records has had a good go of things lately, especially with the work of Screaming Females on their roster.  But, new boys Vacation aim to make their own mark with Candy Waves.  It provides listeners with sharp guitar lines and catchy hooks, while managing to sound appropriately unpolished.

Feedback opens the doors to Candy Waves with “Pyro Hippies” opening moments before the furiously quick drumming assaults your ears.  Here you’ll find the guitar chords knifing their way through the song, and the vocals border on angst, yet still retain a bit of melody.  Yet moments later, the bubbly bass work on “Make a Mess” is what grabs you by the ears and pulls you within the depths of the record.  This tune has less detail oriented guitar work, but the rhythm section surely offers enough to get your toes tapping and your body jumping about.  I want to attach myself to the vocals on this tune, yet they’re just a bit too far below the mix.

For my two cents, the band excels when they offer their pop affinity in their music.  “SFA” jumps right into your meat and potatoes punk rock, though spun through a sludgy blender.  The vocals offer a glimpse at anthemic moments, while the apparent allegiance to Vacation‘s metal influence is also visible.  It opens the way for the hook-laden “Candy Waves,” which might be the record’s standout tune.  Again, I think the lyrics could break through if they had just a hint more clarity in the mastering, but you can tell that this is a tune built for fans to join in during live performances.  You don’t think the band can share pop sensibility with their metal/punk pedigree? Just start listening at 1.36.  They make it three brilliant songs in a row with “Everyone Loves the Sun,” again establishing a gritty beach party feel.  This song excels due to the fact that every instrument, including voice, seems to be pulling in an opposite direction, while still maintaining a healthy balance that unites the tune.

Concluding Candy Waves is another of the record’s standouts, “Horny Politicians.”  Yes, the killer rhythm section comes through again to give a good push on the final tune, but I think it’s the vocal that allows this number to rise above the rest.  There’s clarity throughout the entirety of the song; this allows listeners to really partake in the joy of the song.  It’s the perfect closing moment, allowing us to glimpse Vacation at their very best, and perhaps a possible look into their future.  And in the end, the record ends with a bang, but you’ll go right back to the beginning to play it all over again.  You’ll get the feeling we all had when bands like Wavves felt dangerous, and you’ll be thankful bands like this are still doing it right.

[audio:https://austintownhall.com/wp-content/uploads/2013/06/11-Horny-Politicians.mp3]

 

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