This is fine.
Let’s just call Sunday what it was: a horrific sea of phones. It’s clear to me now that Crystal Castles have blossomed into a deserving huge act, which unfortunately brings with it its own set of problems. We showed up early to catch Canadians Doldrums do their thing.
You can read on for my thoughts, and pics of Doldrums from our boy Brian Gray. Read more
| Date | Sunday, April 21st |
|---|---|
| Location | Austin Music Hall |
| Doors | 7:00 PM |
| Tickets | $30 from Frontgate |
I’ve been really excited about this show since its announcement. Not only have I really appreciated the growth of Crystal Castles that was is illustrated by their latest, III, but their live show at ACL was definitely in my personal favorites this year. They blend noise, electronica, fog and lights; it’s simply compelling. Opening up the night is Doldrums, who aren’t too shabby either. We’ve been fortunate enough to catch them opening for several acts over the last year or so, and I can assure you that it’s worth your time to show up early. It might be pricy, but you’re going to get your money’s worth!
Download:Crystal Castles – Plague [MP3]
| Date | Sunday, April 14 |
|---|---|
| Location | Red 7 |
| Doors | 9:00 PM |
| Tickets | $10 from Red 7 |
You guessed it folks, it’s rock n’ roll April in Austin, and we’ve got another good show for your weekend adventures. We’re being invaded by Canadians this time, with Nova Scotia’s Wintersleep making their way to Red 7 on Sunday evening. They’re touring behind the release of their latest effort, Hello Hum, which we’ve supported since the first singles leaked out. They carry with them a blend of melody and powerful rock riffs, which leads me to believe the show will be both loud and mesmerizing. Plus, our boys Grape St. will be opening. I’ll actually be on hand to sell their records, since we just put it out on vinyl. You don’t have it? You can grab that HERE. See you Sunday friends.
Download: Wintersleep – Martyr [MP3]
| Date | Saturday, April 13th |
|---|---|
| Location | Holy Mountain |
| Doors | 9:00 PM |
| Tickets | $8 |
Hey there Austin. Just a heads up, you have no business calling yourself an Austin music fan if you’re not going to this show on Saturday night. For starters, there’s four of our favorite bands, and we like to think we have good tastes, so that’s important. Second, both Frank Smith and the Preservation will be releasing their albums that night, and I’ve even raved about the new Frank Smith record HERE. Also, you get to check out some other up-and-comers who’ve been receiving a lot of our attention in East Cameron Folkcore and Growl. It’s cheap; booze at Hold Mountain is cheap; people are friendly. Don’t miss this opportunity.
Download: Frank Smith – Chewing Glass [MP3]
| Date | Thursday, April 4th |
|---|---|
| Location | Mohawk |
| Doors | 9 PM |
| Tickets | $6 at the Door |
If you’ve looked at the upcoming shows listing for Austin, April is about to get really crazy ya’ll, so why not start things off right by spending an evening with some of the best local bands Austin has to offer. We’ve raved about all of these bands for a long time, and I know that at least three of the four acts are working on new albums/singles, so you’re bound to hear some fresh tunes. Shivery Shakes are tighter than ever. Tiger Waves, I love them. She Sir make smart pop that I adore. Shrines I haven’t seen, but to be on this bill, you know they’re rad. Seriously everyone, it’s a cheap show, so come out and support local music. Here’s some jams from the Shakes, the Waves and the Sir in case you needed convincing.
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From the moment that Indigo Meadow opens, the drums seem to crackle in your speakers, while the guitar creates a trance-like sensation. It’s a mood that sits with you for the beginning of your listen to the new record from Austin’s The Black Angels, but like always, the band allows for that sentiment to resonate for just a few tracks. Just a few minutes later, “Evil Things” has that heavy-handed guitar churning again, creating that psychedelic cum metal stomp, but the chorus just beyond the 1.5 minute mark indicates a world of madness and beauty that arrives later. Of course, the band wants to leave you with a smash and grab at the end of the track, just so you know they mean business.
But, you can leave the heavier stuff for a bit, as mesmerizing tracks like “Holland” wait your ears. Sure, there’s a stereotypical organ placed in the background, but the way the guitar slowly plods along and the vocals swirl and the shout revert listeners back to the innocence of Haight-Ahsbury; songs like these are reminiscent of the genre at its best. That same sentiment exists throughout the middle of the record, especially with tracks like “Love Me Forever,” though the Black Angels always add their own twist. Slowly the song snakes around the reverb vocals, but they push down on the distortion pedal and let out a momentary growl. Then it soars off into a Zombies-esque vocal harmony that lasts all of about 3 seconds. It may seemed like a scatter-brained world you’re listening in on, but I think that’s ultimately what makes Indigo Meadow an album worthy of repeated listens.
In the past, I’ve felt, though not minded, that The Black Angels often get stuck in their own sound, but the work here shows that they’ve branched out, reaching into all of their musical influences on one record. I’ve mentioned the heavier opening numbers, and perhaps some of the psychedelic nods that are placed here and there, and that attitude allows for a certain diversity that will keep your ears entertained throughout. You’ve got groovy nostalgic ditties like “You’re Mine, which might be one of my favorite tracks on the LP, has this fuzzy throb to it, accompanied by ringing guitar cuts and the perfect accompanying percussion. But, you turn around and find the album closer “Black Isn’t Black” built on a different wave-length. Yes, there’s a throb/pulse here, but it’s much more sinister…that’s only made stronger by the way the vocals were recorded for this tune, like a ghost haunting your ear drums from the echo-y cavern of your skull.
While some may choose to focus solely on the lyrical content, or the misconstrued words of others, none of that really matters to me when listening to The Black Angels. Having seen the band live many a time here in Austin, I listen to their tunes in hopes of creating my own landscape where the band’s music will accompany me. Perhaps they’re playing in a cave that serves as drainage into Edward’s Aquifer, or maybe they’re taking me on a haunted boat cruise along Lady Bird Lake; regardless, they’re always taking me somewhere (musically and physically) that allows me to appreciate them as musicians playing the Devil’s good old-fashioned rock n’ roll throughout the entirety of Indigo Meadow.
[audio:https://austintownhall.com/wp-content/uploads/2013/02/02-Evil-Things.mp3]
I hadn’t really been out and about, at least not to a proper show, since SXSW. But, with the Brooklyn act, Caveman, coming to town with their friends Pure Bathing Culture, I thought it would be the perfect time to venture out; it didn’t hurt that they bands would be playing at the Parish, which always has great sounds.
Read on for my thoughts on the bands and your typical excellent shots from B. Gray.
Austin’s music scene isn’t the easiest to break into, let alone stick around in, but Marmalakes have been holding their own for some time. What bodes well for the group is this ridiculously great new single that they just released over the weekend. It starts with this bouncing bass line that gives great tempo to the group’s blend of folk and pop. Personally, I like the changing in tempo that comes in and out of the song, especially the quick to soft to quicker that closes this jam out. One of Austin’s best acts just keeps getting better. Get in on it now.
Download: Marmalakes – Wells [MP3]
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Frank Smith is a band, not a man. I figured you would know that, as the group has been knocking around for nearly 10 releases, but I’m thinking Nineties is their best work to date. It’s got roots in the world of folk music, sure, but it pushes the envelope with more than its share of loud guitars and careful musical accompaniment.
You won’t find a better opener for Nineties than “We All Win;” it opens with little more than vocals and strummed guitars…a few of the notes receive an extra twang in the mix. While it might be one of the quietest tracks on the record, it provides a teaser of sorts, just whetting your appetite. Soon you’ll find the pure pleasure that is “Beaten Sacks of Death.” I love the way the guitar turns at the chorus, taking the Americana roots and gearing it up for a more rocking ensemble. What steals the show, at least in this tune is the accessorizing done musically; the accompaniment draped all provides perfect accentuation at every turn. Oh, and wait for the stomp just after the 2 minute mark; you’ll surely come back for more.
What will stand out to many of the fans of Frank Smith will be the more complete, even louder, presence here. If you look at the middle section of the album with songs like “How Many Ways” and “It’ll Be Over Soon,” you will see the decibels rising in your ear, but importantly, the band’s sound isn’t lost here. There’s a slight drawl on the vocals on “How Many Ways,” and the song opens slowly. However, the group jumps off into a rocking jam; dig the echoing guitar in the background. “It’ll Be Over Soon” nears a full on rock track, though with hints at country nostalgia with slight electric organ touches throughout. The chorus reminds me of how good simple lyrics can come across in this genre, like those great Old 97s tunes.
Even with the louder sound here, don’t sleep on the band’s ballads. “One Day” is probably one of my favorite tracks on Nineties. Everything on this track fits; there’s acoustic strumming, changes in the vocal pitch, gang vocals, piano tinkering, even a distorted guitar breakdown…this song has it all. It all prepares you for the elegant album closer, “Chewing Glass.” The piano serves as the backbone on this number, with the guitar swirling around both vocals and piano. Personally, I like the fact that the lyrics can be easily sung, as is the case with all the tracks on the record. If you’re not affected by one listen to this tune then I have a feeling that something’s wrong with your heart.
I don’t want to make too much of a fuss about a more pronounced sound on Nineties, as I think that’s really unfair to the record. While it may be louder, you’ll find absolute joy listening for the finer touches in the nooks and crannies of the album; you’ll also rejoice that Frank Smith sounds exactly like, well, Frank Smith. I think the band is officially ready to take on the world, so join in on the fun, won’t you?
[audio:https://austintownhall.com/wp-content/uploads/2013/03/10-Chewing-Glass.mp3Download: Frank Smith – Chewing Glass [MP3]
The word might be out that there’s a fuller sound, and even a more rocking sound, on the new album from Austin outfit Frank Smith. For me, none of that matters at all, especially when you listen to the quality of this latest single, “Chewing Glass.” It’s got the backbone of a piano, with the guitar ringing in the distance; it paints the picture of what I always think of when it comes to Texas defined music, though with a heavier leaning here, slightly. I’m already calling this one of my favorite tracks of the year. The band’s new album, Nineties, is out next week!
Download: Frank Smith – Chewing Glass [MP3]
