Colleen Green – Sock It to Me

ColleenGreen_LP1Rating: ★★½☆☆

It seems like girl pop and grungy lo-fi are some of the hippest genres at this stage of the musical world, so Colleen Green really fits the bill. Sock It To Me combines both the grittiness of lo-fi records as well as the lyricism of typical teenage girly pop all in one neat and concise package of a 10 track, 34 minute record.

At first, it may not seem to be a record that really grabs you. On the first track “Only One,” everything is there to love, but the sound may come across as a bit intangible and far away due to the synthesized backing drums, the high pitched ultimate girl vocals of Green herself, and fairly monotonous gritty guitar. The song comes across as a younger band trying to pass itself off as older. However, after the first track is out of the way, you’ll find it easier to get to know and enjoy Sock It To Me, as “Time In the World” goes along with a more youthful, bouncy vibe that suits Colleen Green better. Most of the other tracks from here on out follow this trend, which works fairly well for Green.

The album moves right along, bouncing from gritty minimalist pop track to gritty minimalist pop track, one after the other. There are certain moments that shine above the simplicity, such as “Heavy Shit,” the shortest song on the whole album. It rages through its 2:14 time, with hyper active drum machine and furious guitar in tow. Though snappily short and sweet, it is a good direction for Green; the minimalist lyrics are matched by the duration and fast pace that screams youth. However, along with this youthful vibe, there really isn’t much to offer on here lyrically, other than stereotypically whiny teenage girl problems. Which evokes some of the same basic boyfriend imagery akin to that of Bethany Cosentino and early Best Coast. That’s not to say the songs aren’t catchy or fun to listen to, but if depth is what you are looking for, you’ve turned to the wrong album.

If you can get past this lack of depth and just focus on the simple and catchy guitar riffs, then you are set to love Sock It To Me, but like other albums of this playful nature, it certainly isn’t for everyone. Some people may never be able to connect to the music here, but others may find something fun to jam to.

Soulful Swinger from Shannon & the Clams

ShannonAndTheClams1I’m so excited for both Hardly Art and Shannon & the Clams! The two have joined up to release the next record from Shannon and her posse, titled Dreams in the Rat House; it comes out on the label on May 21st.  I’ve long enjoyed Shannon’s work, and not just with the Clams, but with the other projects she’s taken a liking to throughout the years, such as Hunx.  This tune illustrates her penchant for tossing her raspy voice into the mix on an otherwise soul-influenced track; she’s definitely gritty, but also has an incredible range.  I think this is my favorite union of the year so far!

[audio:https://austintownhall.com/wp-content/uploads/2013/03/ShannonAndTheClams_RipVanWinkle.mp3]

Download: Shannon & the Clams – Rip Van Winkle [MP3]

More Buzzsaw Girl Pop from Colleen Green

colleenNot too long ago we brought you the first single from Colleen Green, one of the many great acts on our favorite little label, Hardly Art.  Today we have a new track for you to enjoy, which builds our enthusiasm for her upcoming record, Sock It to Me.  It’s short and sweet, with Colleen rocking her guitar while a synthesized drum beat keep base like a hip little metronome.  I love the quality of her voice on this recording. It has a sugar pop coating to it, but there’s this sultry quality to it that’s totally enchanting.  And, if you close your eyes, it’s like a girl-pop Mike Sniper, which can’t be a bad thing in my eyes.

[audio:https://austintownhall.com/wp-content/uploads/2013/03/ColleenGreen_HeavyShit.mp3]

Download: Colleen Green – Heavy Shit [MP3]

Grave Babies – Crusher

GraveBabies_LP1Rating: ★★★½☆

It seems like Grave Babies have been fighting back against the various all-inclusive genre tags that have been thrown their way, though you might not be able to tell that by listening to their latest effort, Crusher.  So before you venture into their world, put all your preconceived notions aside and just listen carefully.

Crusher‘s intent is apparent upon the first instrumental track, “I,” that begins your listening experience. It’s a wall of feedback and noise, looping in your ears with a distorted vocal creating an odd sense of calm before the band breaks into “Over and Under Ground.”  It’s a thunderous track, with pounding drums and anthemic vocals, though you’ll have to listen through the haze to realize this is a pretty simplistic pop song.  You speed it up, clean it up a tad, and you’ve got a nice little power-pop track hanging in there.  Such tendencies are the specialty of Grave Babies throughout their album, creatively blurring the lines between traditional pop and modern noise.  This is much the same approach they use a few songs later on “Skulls,” which has some sonic similarities to what Mike Sniper has been doing with Blank Dogs.  But, the difference here is in the pronounced crispness of the drums, which breaks through the onslaught of guitar noise coming through your speakers.

Personally, I’ll admit to the affecting moments when the band takes a softer approach.  However, the group doesn’t ever go near being too soft; I’m referring to their ability to pull back on the audial barrage of noise.  “Slaughter” trudges along beautifully, fueled by a darkly dancing guitar line.  While the vocals might seem a bit distant in the mix, it’s inevitable that you’ll see the pure harmony in their tone–this isn’t just a noisy record; it’s brimming with an inner beauty. It’s similar to “Death March,” which appears further on down Crusher’s track-list.  Everything moves at a slower pace on this tune, though you can clearly see how the band could go either way…they could speed it up and make it clean, or they could mess with you and just draw the song out slower. This is part of the enchanting part of Grave Babies; they have this unique ability to toy with every preconceived notion you’ve got in your head.  I love the way “Death March” unnoticeably moves into “Haunted, with both songs seeming to come from some kindred spirit.

Listening through the entire album might be grating on your ears, but this is the only way you can guarantee safe passage through the blurred lines that Grave Babies have presented you with on this release.  Is a song like “Hate Repeats” just a ballad disguised as some ghoulish piece of artistic noise rock? Well, you’ll have to make that out for yourselves…that’s the mystique and intrigue that you’ll get to live with as soon as you press play on Crusher.

[audio:https://austintownhall.com/wp-content/uploads/2012/11/GraveBabies_OverAndUnderGround.mp3]

Download: Grave Babies – Over And Under Ground [MP3]

Crusher is available now from Hardly Art.

Special Softy from We Are Loud Whispers

WALWOh Hardly Art, how you have our heart.  The label has recently added a new singing, We Are Loud Whispers, which actually features a member of the label’s original signing, Arthur & Yu–enough about that though.  You’ve really got to allow yourself some time to enjoy what’s going on in the group’s first single for the label, “Western Town.” At first, I was attracted to the soft female vocal, as its presence in the mix is really the focal point, or so I thought.  But then, the little bits of trickling electronics began to filter into my brain, allowing me to hear new notes all along the way.  You’re probably going to need to pick up the group’s debut, Suchness, when it comes out on May 7th.

[audio:https://austintownhall.com/wp-content/uploads/2013/02/WeAreLoudWhispers_WesternTown.mp3]

Download: We Are Loud Whispers – Western Town [MP3]

More Noise Drenched Rock N’ Roll from Grave Babies

GBangel3Not too long ago we all got to hear the great “Over and Under Ground” from Grave Babies, but with their new single, “No Fear,” they just continue to show signs of vast improvement.  There’s a deep tonal quality with the vocals, and the tracks is covered in controlled noise.  I think the increased pop element is definitely going to appeal to a wider range, while still holding onto the group’s aesthetics that came with their first EP.  Their new record, Crusher, will be available in stores on February 26th from Hardly Art.

[audio:https://austintownhall.com/wp-content/uploads/2013/02/GraveBabies_NoFear.mp3]

Download:Grave Babies – No Fear [MP3]

Lost Animal – Ex Tropical

600x571-cRating: ★★★½☆

It’s hard to imagine a musician creating an entire album geared around what he, or she, can accomplish on a keyboard, but that’s precisely what Jarrod Quarrell aimed to do with his Lost Animal project.  Don’t you worry your little head, the songs within Ex Tropical are anything but basic keyboard tunes; they’re soulful ballads dabbling in sonic exploration.

The introductory track from Lost Animal is aptly titled “Intro – Beat Goes On,” giving notice that despite the confines of primarily using a keyboard to craft tunes, there’s a huge deal of soul lurking on the entirety of the collection.  Quarrell’s voice has a hint of gruffness, which provides a darker texture to the otherwise pop-laden hooks of this opener.  You’ll see that haunted soul completely take over on the following tune “Say No to Thugs,” which really seems like a less-orchestrated Spiritualized.  While it may be stripped down, Jarrod’s vocals really seek to evoke that last drop of emotion from the depths of your inner being.

It’s hard to escape the dark feeling that comes with Ex Tropical, and that’s aside from the obvious reference to a move away from sunlight in the title.  When you come to a song like “Dark Litter” there are definite sonic flourishes that add to the song, but the overall simplicity is what really allows you immerse yourself in what Lost Animal is trying to accomplish.  If you stripped it all down to a simple keyboard line, it’d still be a solemn number.  That being said, you can still find yourself some more playful moments popping in and out.

Just after what’s the darkest moment, for my ears, you get the playful striding beat of “Cold Cut Nature.”  It’s placed perfectly in the collection, giving you a more light-hearted vibe that originates with that bobbing beat.  You’ll even find Quarrell playing with his vocal approach by mixing up the tones throughout this tune.  It’s comparable to the driving beat that hides behind “Lose Your Baby,” even though the subject matter isn’t necessarily the most uplifting.  Such is the nature of the work on this record; it goes wherever it wants to go.  But, for my two cents, you should not pass go without listening to “Old Lovers.”  It’s hard to explain what’s more strikingly beautiful: the keyboard work, guttural emotion or the soft touches of backing vocals.  Whatever it is, this is surely a special song.

Honestly, Ex Tropical might not be a record for an everyday listen, but it’s an album that everybody needs to listen to at some point in time.  Jarrod Quarrell has found himself in the work he’s created for Lost Animal, leaving listeners with the perfect balance between barroom soul and pop balladry.  You’re not likely to find much else out there quite as unique as this, making this a hidden gem for those who choose to invest their time in the perfect listening experience.

[audio:https://austintownhall.com/wp-content/uploads/2012/11/LostAnimal_SayNoToThugs.mp3]

Download: Lost Animal – Say No To Thugs [MP3]

Hook-Laden Pop from Colleen Green

What? You want danceable rock n’ roll? Well, then Colleen Green is going to give it to you.  On her first single for Hardly Art she’s offering up gritty guitar tracks backed by pulsating synth beats.  Her voice is hazily haunting in the background, leaving listeners with an endearing pop song that you’ll likely want to include on your next digi-mix. She’ll be dropping Sock It To Me on March 19th via the aforementioned label, who’ve yet to put out a bad record in their tenure.  Fans of La Sera and Best Coast will surely find themselves attracted to this tune, as well as just about everyone else. You can’t argue with a hit.

[audio:https://austintownhall.com/wp-content/uploads/2013/01/ColleenGreen_TimeInTheWorld.mp3]

Download: Colleen Green – Time In the World [MP3]

Brand New Music From Grave Babies

After breaking onto the scene earlier this year with their surprising Gothdammit EP, Grave Babies are busting out more new music before the end of the year.  This new single “Over and Under Ground” picks up right where the band left off back in April.  It’s definitely the sort of post-punk/goth sound that we’ve come to know from the band and creates a style that only be completely claimed by these Seattle based boys.

You can get your hands on the second full length LP, Crusher, on February 26th via Hardly Art Records.

[audio:https://austintownhall.com/wp-content/uploads/2012/11/GraveBabies_OverAndUnderGround.mp3]

Download: Grave Babies – Over And Under Ground [MP3]

Black Marble – A Different Arrangement

Rating: ★★★★☆

There are tons of bands out there crafting dark electronic pop music nowadays, and I’m cool with that, for the most part.  But, sometimes you have to wade through a lot of mediocre work in order to find something special.  Luckily, the newest effort from Black Marble makes it easy; it’s accessible, dark and infinitely rewarding.  You’re going to want to get your hands on a copy of A Different Arrangement as soon as you can.

For three seconds, Black Marble begins things with this ominous feeling on “Cruel Summer,” but just minutes later it evolves into a evenly-paced bit of dark pop.  Beats unfold rather slowly, encouraging you to fall further into the track as a brighter electronic sound begins to take shape.  If you’re looking for something that’s going to beat you over the head with hooks, then perhaps this isn’t the song for you, with the lyrics keeping an even keel throughout. While other bands simply push forward to quickly, the NYC duo are happy just hanging out and making tracks you’ll want to listen to on your darkest days, and your brightest too.  There’s a pulsing beat to “A Great Design,” and even a bit of a lighter sound to the crafted music, but the slightest hint of an echo drenched over the vocal provides that sensation of personal melancholia that allows you to lose yourself within the confines of A Different Arrangement.

Even with the songs creating their own sort of negative space throughout, a few songs do allow for that slight upbeat movement.  The one-two punch of “A Different Arrangement” and “Limitations” does provide the record with an extra skip in the middle of things.  Musically, the former track is what provides the bit of a different mood, with the vocals holding tightly to the distant feeling they’ve provided since the get-go. I feel like the latter track, though still dwelling in that haunting spectrum, does its bit to move the mood into a peppier sphere, though only slightly.  All that being said, the tempo remains slow–a constant for almost every track on the album.

One of the things I really enjoy about immersing myself in this release by Black Marble is its ability to seem so far away musically, yet provide you with a bit of personal intimacy—at least if you grew up on the dark-tinged pop of the 80s.  Songs like “Pretender” though using a more propulsive drum loop still invoke a feeling of longing or isolation, yet the slight swinging of the beat makes me wax nostalgic about dancing in my room as a kid to my sister’s records.  Naturally, those sorts of feelings, even as an adult, still resonate, which is what makes the entire effort so enduring spin after spin.  A Different Arrangement never grows old, and it almost always surprises me with which song I like the most; sometimes I lose myself in one, only to find myself mildly tapping my tow to another.  As the winter months begin to approach, there’s not a record that I think you’ll appreciate more.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/BlackMarble_AGreatDesign.mp3]

Download:Black Marble -A Great Design [MP3]

A Different Arrangement is available October 9th from Hardly Art!

 

 

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