This is fine.
Telekinesis just released a new EP yesterday, and I just had to pick it up. The Parallel Seismic Conspiracies EP has a few new tracks from Mr. Lerner, as well as a few covers of Guided by Voices. You can order the EP over at Merge Records, or grab it from the band while they’re on tour with SSLYBY. Give it a go.
Download: Telekinesis – Dirty Thing [MP3]
In my mind, there aren’t many better wordsmiths in the indie world than John Darnielle. Now that he’s signed with Merge, it seems good things are in the future for us all. His new album with Extra Lens will be out on October 19th, titled Undercard. He’s also signed on to release the next Mountain Goats with the Carolina label, so we’ve got that to look forward to, right? And speaking of those Mountain Goats, they’re coming to Austin soon right? Try out the beautifully light “Only Existing Footage” from Undercard.
Download: The Extra Lens – Only Existing Footage [MP3]
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After what seems like forever, Arcade Fire have finally made their return to the fold. Their third album, The Suburbs, is being released by Merge Records, and while it obviously deals with the modernity of culture in the burbs, will its musical concepts be greeted by the masses, re-raising the flag of the band above all others?
“The Suburbs” brings the album about with a nice bouncy piano, and Win Butler’s eerie croon. It’s a casual song, one thing that seems really commonplace in this collection of songs. While there’s a bit of a fluctuation in the vocals, there aren’t really a great deal of changes in this track. Moving along, you find a bit of a darker-edged swing with “Ready to Start.” However, much like the opening track, it finds itself stuck in a sort of complacent circle, almost going nowhere. In fact, the album doesn’t really go the places you’d like to see Arcade Fire go.
“Empty Room” is the first song, well, the fifth, where you actually see the band pushing themselves in a way we’re used to seeing them do. It begins with a flurry of strings, cutting in through almost the entire song. Beneath it, quietly, is a pounding rhythm that drives the pace of the song. Interestingly, the band is exploring a bit of some odd atmospherics, but in doing so, they give the listener a different dynamic altogether, something that lacked in the earlier moments of The Suburbs. The two mutually inclusive songs, “Half Light 1” and “Half Light 2” also show some changes in the structure of the band’s traditional writing, but all within reason. Elements of strong synths and layers of noise provide a little bit more depth to these tracks. That being said, there’s still not a lot of power behind these tracks, even when they do venture down new paths.
Oddly, while nothing immediately stands out within this album, as many of the tracks did on past works, you can’t really hate on a lot of these songs. “Modern Man” is by no means the world’s most creative song, and perhaps its not meant to be pushing boundaries. But, criticism on simplicity will only get you so far, as the song slowly grows on listener’s ears. “Deep Blue” is a great little ballad, but again, the band isn’t pushing too many limits. It sort of gives the impression of a demo track that would have benefited from better orchestration or production, yet at this point, it’s probably one of the tracks I’ve most enjoyed. For some reason, depth and passion seem to have waned throughout, which is personal opinion, of course, but it takes a lot of the luster away from songs that at their core, are quite enjoyable.
Everyone will surely appreciate the undertaking of commentary on the burbs, and you have to credit Win’s writing, as it is probably the strongest we’ve seen from him, at least in parts. However, as the album goes on, one might find themselves losing interest in it all, as it clearly drags out in parts. Arcade Fire will be the most polarizing talk this week around your water cooler, as brilliant moments do exist within The Suburbs. Still, it all seems a touch to mundane. If we weren’t talking about the band that came out with Funeral, then this might be a great piece of art, but knowing the band is capable of more, you get the feeling like they’ve sort of settled down, perhaps in the middle ground of their own musical suburbs.
Veteran indie-pop band Versus were long thought dead after their much publicized breakup around 2001. But then, wait, the group got back together for a few shows in 2008, re-worked their lineup and decided it was once again time to make music. So now in 2010, Versus are planning to release their first LP in ten years entitled On the Ones and Threes via Merge on August 3rd. I don’t think anyone really knows what to expect from the new joint, but I do know I like the track below. Welcome back kids.
Download: Versus – Gone to Earth [MP3]
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It sounds like things in North Carolina couldn’t be any better. The Love Language recently signed to Merge Records, and then they followed that up with the release of Libraries. At first listen, you might find sonic touches of other bands, you might even think you recognize vocal qualities of singer Stuart McLamb. In the end, you’ll find that this record is full of well executed songs, all of which provide repeated listening pleasures for every individual who puts down the cash to get this well crafted pop opus.
“Pedals” starts off slowly, before guitars begin to ring in backed by light keyboard strokes. Enter Stuart, carrying his melody high above the rest of the band’s swirling sonic display. There’s an edginess to all this beauty, and every movement within the song feels sharp, yet incredibly uplifting, especially when the strings arrangements enter during the latter part of the song. You can’t start off much better than this.
During “Brittany’s Back” you start to get a hint that McLamb has a bit of Hamilton from The Walkmen in his voice, but during this song, his voice seems much more controlled than his vocal contemporary. But, on “This Blood is Our Own” you really see a similarity, as Stuart reaches for that high spectrum of his own pitch, wavering just a bit at the top. Still, this song, aside from the piano, doesn’t really sound all that much like the aforementioned band; it has a much more cinematic quality, one that would fit nicely in the wooded regions of the Carolinas.
“Summer Dell” starts off a slew of songs that don’t sound as crowded, musically, and they really take Libraries to the the top tier of indie rock. Steady guitar strumming, and really sharp drum hits, give it a strong emotive quality, yearning for you to get lost amidst the finer details of the song. “Heart to Tell” takes a like-minded approach, as its similarly stripped down, though you’ll find a more upbeat group, giving you a little bit of swing as you listen. McLamb’s vocal performance here is one of the strongest of the whole collection, and creative production from the percussive section adds an extra level of enjoyment.
Something about the approach to the writing in “Wilmont” will forever stick with you. After an album that seems filled, cleverly, with every inch of space, you have a slow number that is carried by light strumming and McLamb, that is to begin the song. Once the drums kick in, and the guitar seems to be chasing the stars, you try to follow, yet you’re distracted by the vocals, almost haunted. It is hard to pull yourself away from this song; you simply can’t do it.
That’s precisely the way you’ll feel listening to Libraries, especially after the third and fourth listen. Details will begin to emerge, melodies will seep inside you, and you’ll discover that crooning sounds coated in wooded effects can be successful. In fact, it’s so much so, you will keep coming back to The Love Language just to take a different look around the indie world. You’ll be better off for it.
[audio:https://austintownhall.com/wp-content/uploads/2010/04/ll-heart.mp3]Download: The Love Language – Heart to Tell [MP3]
Hopefully you all know the great site Daytrotter by now, and we’re sure you’re well aware of their great little studio sessions with our favorite artists. They recently ran a session with underappreciated Merge Records artist, Lambchop. The group is fronted by Kurt Wagner, and those of you loving the Americana genre will surely find that his songs are precisely what you need in your collection. Luckily, the session features two unreleased songs that you can download to your collection. Get there NOW.
Download: Lambchop – Buttons [MP3]
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Remix artists rejoice! Daniel Snaith is back and he brings with him a fresh palette of sublime beats for you to disassemble. Continuing to add to his extensive discography, his latest Swim was just released via Merge Records, his first full length since Andorra, released in 2007. Snaith, hailing from Ontario, utilizes a full band on the record, and the product sounds like a digital and electro production alone. In fact, it’s stunning what kind of layering Snaith accomplishes using traditional instruments like soprano sax, flute, and trombone.
The opening track “Odessa” is a good intro to the record and holds one of the more catchy bass lines. The tambourine throughout is sometimes distracting on first listen, but quickly fades as your ear dissects different angles. Immediately upon the first listen, one thing is certain. This is party music. Straight ‘get off your ass and dance’ music. Actually, it’s the best kind of party music; the type that sneaks up you. You know the feeling; the party is still young and you want to make it a little livelier. This is a good scenario for Swim. It’s the kind of music that doesn’t dominate the room, but politely sits in the corner, simmering like Boeuf Bougiuignon. When you least expect it, you find yourself tapping your foot or nodding your head. That’s right where Snaith wants you. He plays with moods in the simplest way possible, but it’s nothing flashy. Think Ghostland sans Capes; but with harmonies instead.
The next track “Sun” shows a more melodic side than the opener, but continues the simple electro beats. The rhythm builds to a vast crescendo, and if you don’t move at least some part of your body during which; you should probably check your pulse. For all I enjoyed on “Sun”, “Kalli” quickly brought me down. It is perhaps the most intrusive track of the album, like a jazz improv going horribly wrong. Maybe I don’t understand the nuances of Caribou, but this was like fingernails on a chalkboard to me. Luckily, “Found out” gets the groove back with some of the best songwriting on the release. “Bowls”, the longest track on the album has showcases disharmonious chimes played against harp strumming. It’s an unusual instrumental, but that segues into a stripped down beat that might have you looking around the room thinking you tripped over a cord and unplugged a speaker. It’s not the catchiest song on the album, but here Snaith shows off his ability to layer every sound imaginable into a somewhat literate dance number. For me, I’ll stick to the vocal tracks.
“Leave House” and “Hannibal” get the party vibe back, as Caribou channels his inner Hot Chip on the former. And as always, you can always add more cowbell as heard on the latter. The shortest track “Lalibela”, could be considered transitional, leading into the final track, but in its own right, it is a gem. Finishing on a very strong note, no doubt my favorite track on the album “Jamelia” is sublime. The subtlety, the beat, the vocals, the instrumentation; it’s like a difficult jigsaw puzzle and you just found the last piece. It builds to a massive extended crescendo before trailing off slowly. For me, it quickly prompted a second listen to the album as a whole. I can’t say that about many release so far this year. Overall, it’s a short release, but it shows what Snaith does well in no uncertain terms. It’s straight forward, but dense, utilizing layering in unique ways. Next time you have a party, be sure to grab this one.
While researching fun things to buy this Saturday, I remembered that North Carolina’s The Love Language not only have a 7″ coming to us for Record Store Day, but also their debut album Libraries will hit stores July 13th via Merge Records. We have the first single from the album, and it promises good things to come, so get ready.
Download: The Love Language – Heart to Tell [MP3]
Originally, the UK trio Let’s Wrestle released their album In the Court of Wrestling Let’s in 2009 in England, but fortunately, those clever lads at Merge Records got a hold of it. They’ve re-released this record here in the United States, and every listener will forever be indebted to them for doing so. Let’s Wrestle is an honest band, bound by no pretension, built to cheer you on towards brighter days and generally just make you smile.
“My Arms Don’t Bend That Way, Damn It” opens this sixteen song delight, and despite some rather somber lyrics, the jangling guitar lines and furious drum pounding indicate a narrator, and perhaps a band, pushing towards frivolous days. This happy assault on your ears always seems to carry more serious undertones, but in disguising it as they do, you can’t help but pogo along.
You’ll absolutely love listening to “Tanks.” It definitely has a very British sound to it, as the bass bobs in line with the guitar work. Every bit of this song sounds utterly familiar, yet it stands out in a very distinctive manner, which recalls the early work of The Wedding Present. Similarly, the “ba, ba, ba” chorus that runs throughout “We Are the Men You’ll Grow to Love Soon” just sticks inside your head all day long. Once again, bass work is key to the simplistic formula here, propelling the song along when the chorus isn’t present. Don’t even try to tell yourself that you don’t already feel yourself growing to love this band. It seems like soon is now.
Apparently the band have an affinity for American pop acts of the past such as Buddy Holly and Roy Orbison. Such influences definitely bleed through here, especially on songs like “My Schedule.” There’s a certain swing you’d find in the records of your parents; you know, the ones they told you they first danced to when they were courting each other. But, the group has the knack to make it all their own, using a hint of tropicalia on “In Dreams.” While the subject matter is definitely a nostalgic allusion, you get the precise feeling of listening to this on a beach, if not for Gonzalez’s echo-effected vocal.
A wondrous thing about In the Court of Wrestling Let’s is the fact that their is a youthful vibrance throughout, keeping the album from ever feeling stale. “I Won’t Lie to You” has a blistering pace to it, and although it does come across a touch raw, you’ll be drawn to the purity of a band pushing themselves to have fun. And “It’s Not Going to Happen” feels as if a bunch of British brats decided to borrow a touch or two from Ted Leo. This is meant as flattery, sincerely. It uses the stop-start formula, along with mono-syllabic moments repeated, sucking you in as it goes.
For a debut record, you couldn’t really ask for a whole lot more. Not a song on will turn you off, and despite being a straight pop-rock album, you probably won’t skip a song. Sometimes the best records are the ones that present themselves honestly, destined to bring you nothing but joy. In the Court of Wrestling Let’s is precisely such a collection of songs, and one that Let’s Wrestle should be extremely proud to have created.
[audio:https://austintownhall.com/wp-content/uploads/2010/01/wearethemen.mp3]Download: Let’s Wrestle – We are the Men You’ll Grow to Love Soon [MP3]
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Chapel Hill, North Carolina’s Polvo began in 1990 when most of us were mere babes. After four critically acclaimed albums, a sting of EPs released on Merge and Touch and Go, and tours across the United States and Europe with bands like Sonic Youth and Pavement, Polvo called it quits in 1997. But, as is the recent trend, Polvo reunited in 2008 for All Tomorrows Parties and several stateside shows, this string of performances then mutated into Polvo’s first album in twelve years, In Prism.
To this reviewer, Polvo has always been one of those bands that is familiar in name, not by output; the scene workhorse that consistently releases albums without much fanfare. I always felt a bit guilty about not really giving Polvo my attention: they wrote solid well-crafted songs and delivered them genuinely, what’s not to love? The problem I saw Polvo having was that they there were other active bands at the time (Archers of Loaf, The Jesus Lizard, and Jawbox, to name a few) that were doing the exact same things, only better. Polvo got relegated to the indie rock B-team with bands like Giants Chair and Gauge. I am not trying to slight these bands. They all deserve much more credit than what they received for one reason or another.
That brings us to In Prism, which, like the rest of Polvo’s career, isn’t good or bad, it’s just okay. The songs are interesting, but they all seem to follow the mid-nineties math rock playbook: riffs on top of riffs, changes on top of changes, quiet part, vague emotional lyrics, noodling solo, repeat for 5-8 minutes, TA-DAH! The songs that having staying power are track three “Beggar’s Bowl” and the album closer “A Link in the Chain”: “Beggar’s Bowl” deserves recognition for two reasons, besides being one of the stronger cuts on the album, 1) It’s laughable, yet endearing use of chimes, and 2) I defy you to listen to the song without singing Queen’s “Another One Bites the Dust”. “A Link in the Chain” displays the slower side of Polvo, which does well to show how truly great guitarists Ash Bowie and Dave Brylawski are at their instruments (although I could’ve done without the epic Yes-ian build-up only to be met with, essentially, an instrumental cock-block [don’t worry I won’t quit my day job]).
We live in a time where everyone longs for their favorite bands to reunite and release “just one more album” or go on “one more tour” and while In Prism is a solid album that any band should be proud of, I think it’s time to retire those thoughts of Pavement, Archers of Loaf, or Quicksand reuniting and just be happy with memories of the way things were, rather than grieving over what those bands have become (I’m looking at you Weezer).
