This is fine.
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).
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It’s hard to tell where a band will end up after remaining rather quiet since 2001, yet alone to see how they’ve progressed in a career that has spanned over three decades. Still, New Zealand’s The Clean have left their jangling influence all over the map, and with the release of Mister Pop on Merge Records, they look to reestablish themselves in your listening rotation, if they aren’t there already, as they probably should be.
Of course, the jangling has diminished a bit, and we have seen the band expand their sound, completing the expansion of their sound to include slow surf-psychedelia such as they do on the album’s opener “Loog.” Despite the lack of a proper lyrical track, you cannot really pull yourself away from the song. “Simple Fix” works similarly, though it has a standard beach appeal to the instrumental, while the other instrumental track wavers on a more space-influences structure.
Then they move on to the meat and potatoes in “Are You Really on Drugs.” Although the lyrics may resonate with many, there’s not much to them overall, but what will get listeners is the subdued strumming with the hollow, yet moving, vocals that seemingly bounce off the background of the song.
Never satisfied the group goes into a territory that will seem familiar to everyone, combining that classical indie guitar sound that distinctly belongs to them along with the female backing vocals. You’ll also find one of the staples of the album inside “In the Dreamlife U Need a Rubber Soul” as guitar licks cut through the blank spaces; it’s something that the band uses to near perfection on this album, without ever overdoing it.
“Back in the Day” and Factory Man” are two of the strongest songs on the album, stuck right smack dab in the middle. Vocals are delivered in that classic Lou Reed delivery circa “I’m Waiting for the Man” while the rest of these songs come off like similar artists such as Comet Gain. There is something in these songs that immediately makes them feel familiar, as if you’ve been listening to them all of your life, and in fact, you probably have. Whether or not The Clean have influenced hundreds of bands will never be discovered, but if they didn’t, then people have done a great job approximating their sound without admitting to common thievery.
An odd bit in the midst of the album is “Tensile.” The vocoder effect used just sort of throws off the mood momentarily, although it clearly portrays the expanding horizons of the group. Still, it’s a bit off, which is somewhat shocking, as the rest of the album has seemed to fit perfectly up until this point. But rest assured that the group close the album properly with “All Those Notes,” a song drenched in the electronic cloak of a keyboard. Such a slow number as this is a fitting end to Mister Pop, an album filled to the brim with interesting listens you’ll keep coming back to as you graciously thank the heavens for the return of The Clean.
[audio:https://austintownhall.com/wp-content/uploads/2009/07/3-the-clean-in-the-dreamlife-you-need-a-rubber-soul.mp3]Download: The Clean – In the Dreamlife you Need a Rubber Soul [MP3]
Once again, tracks are slowly leaking from the upcoming album Bonfires on the Heath by UK wunderkind The Clientele. Surely, you’ve heard of them, but in case you haven’t we’re offering this new track. Their special dream-inducing psychedelia is present here, and it only builds the anticipation as we head towards the October 6th release date on Merge Records.
Download: The Clientele – Harvest Time [MP3]
You may not know about The Clean, but odds are, you’ve been jamming to something that’s been influenced by this seminal New Zealand band. Long ago, they made Flying Nun a indie household name, but now they are working with Merge Records. They have a new album, Mister Pop, slated for a release in September, and this new track definitely has the ATH offices salivating. Here’s to you!
Download: The Clean – In the Dreamlife you Need a Rubber Soul [MP3]
The Clientele have been around for a long time, crafting serene pop songs for those inclined to have their moods altered, and by that, I mean that they are moving. Sadly, their latest effort, Bonfires of the Heath, is said to be their last one. But, luckily, months in advance of the October 6th street date on Merge Records, we have a track to sample from the album. Should be a dandy.
Download: The Clientele – I Wonder Who We Are [MP3]
After about 10 years on hiatus, old school indie-rockers Polvo are back and ready to melt some faces. The band is planning to release a new album September 8th called In Prism and first single “” is available to check out below. Merge Records will take on label responsibility.
Download: Polvo – Beggars Bowl [MP3]
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Conor Oberst has long been able to manage his own evolution as a songwriter. Since he was a young lad in his hometown of Omaha he has asked for little help outside of Mike Mogis and Andy Lemaster; on Outer South he gives up a fair amount of the writing to various members of his Mystic Valley Band. Unfortunately, this group of mystics just doesn’t come across nearly as convincing as anything previously released under Conor’s name.
A noticeable difference here is that the acoustic guitar and orchestration that usually accompanies an Oberst outing, even on last year’s self titled album, has always played a significant role in the presentation of song. Even the spectacular work of Mogis always seemed to raise the guitar to the heavens for all to listen; this round, the full-on band approach that began to evolve on Conor Oberst has fully taken root.
The side effect, not only of allowing others to take part in the songwriting, but the encouragement of the full band sound, aside from the mostly acoustic “Ten Women” or “White Shoes,” makes much of the record seem somewhat disjointed. The album seems to waver between various songwriters, and the effect makes it difficult to grasp the album as a whole entity.
The good news aside from the lack of cohesiveness is that there are some bright moments on the album that solidify the progress that Conor has made as a musician. Many a detractor always commented on the warble that existed in his early recordings, especially when you look at Fevers and Mirrors, but that unstable vocal has long since disappeared, making way for a more mature vocal. His songs benefit from this; “White Shoes,” for example, is probably one of the better songs he has written (furthered by the fact that it seems to be mostly him on guitar).
Perhaps this sort of evolution is completely acceptable, and in fact, it should really be encouraged. No one wants to listen to the same record being recorded time and time again, so you have to give it to the man for going out into new territory, but in doing so he is bound to alienate various listeners, perhaps even his most diehard fans. The error with the album, though there are bright spots, is that he has lost his intimacy throughout the recording of this album. Where he once seemed to speak to you in your bedroom through your speakers, he now shouts at you as the lead speaker for a group of musicians. Let’s forgive him for now, and hope the intimacy returns.
Outer South is out now on Merge Records.
[audio:https://austintownhall.com/wp-content/uploads/2009/05/09-white-shoes.mp3]Download: Conor Oberst – White Shoes [MP3]
Baltimore two piece Wye Oak just dropped a new single that we’ve been spinning around the ATH offices over the last few days. The new track will appear on upcoming album The Knot due out July 21st on Merge. What do you think of the new material?
Download: Wye Oak – Take It In [MP3]
