Another Fresh Tune from Bob Mould

bobbyThere probably aren’t many greater things than coming home on a nice Spring afternoon to a Bob Mould track in your inbox.  There’s something youthful about his music, even though he’s been in the music-making game for quite some time.  I’m just really excited that he’s bringing out the rock; though I still enjoy his work with Sugar, it’s these sorts of songs, encompassing the great writing of a power-pop genius, that really get me pumped.  I can’t wait to hear his new record, Beauty & Ruin, when Merge releases it on June 3rd.

[soundcloud url=”https://api.soundcloud.com/tracks/146265213″ params=”color=ff9900&auto_play=false&hide_related=false&show_artwork=false” width=”100%” height=”166″ iframe=”true” /]

Wye Oak – Shriek

WORating: ★★★½☆

In 2011 we welcomed Wye Oak’s stunning third full length release, Civilian, which was a record of huge growth and refinement for Jenn Wasner and Andy Stack. After such a great album, it’s often hard to imagine where a band will travel next, especially one so small as this duo. This forth time around, the two have gone electronic, ditching the guitars from before and replacing them with atmospheric and electronic sounds. It is an interesting choice, especially after the success of their last release and one that comes with its rewards and drawbacks.

They open slowly this time around with “Before,” and immediately the new style is audible; a synthetic soundscape fills your ears as this duo transport you to a space of tranquility and effortless sound. The percussion is distant, with a faded, subtle quality that offers a dreamy kind of mood to the tune. Of course you have Wasner’s indistinguishable vocals that confess the opening and closing line of the song: “This morning/ I woke up on the floor/ thinking I’d never dreamed before.” The mood of the album is elucidated in that brief lyric; the whole thing feels a bit like melancholic and unpinned nostalgia expressed via delicate sound.

I was quite impressed with the first half of the album; while the sound is not overwhelmingly complex or drastic, the songs they’ve crafted are a solid step into the electronic side of things. Title track, “Shriek,” picks the tempo up a little while maintaining that dream-upon-waking atmosphere. Lead single and my personal favorite track, “Glory,” will have you dancing along to the beat while the vocals craft a bit of drama to latch onto, propelling the song from just being a groovy number.

While there are still some pretty good tracks on Shriek that beg for repeated listening, the sweeping majesty that was introduced on the past album isn’t really matched here. I find myself missing the clean guitar and Wasner’s crisp and elegant vocals that Wye Oak did so well the last time around. After the mid point of the album there is certainly a drop off in the level of intrigue in the tracks and the minimalist sound becomes a bit bleak. That being said, I appreciate the last song, “Logic of Color, ” as the electronic elements take a backseat to the vocals and round out the album with a track reminiscent of those encountered earlier on the album.

Shriek takes Wye Oak down a different path than we’ve seen them go before, and it is enticing for the most part, but I wish a few of the tracks went a little further down this trail and out of the box.

Have a Rock Fit With Flesh Wounds

10_404_404_522_fleshwounds_900px

Here’s an easy song for anyone to like called “Bitter Boy” created by the indie punk band known as Flesh Wounds.  The tune appears on a new 7″ being release by the band on May 13th via Merge Records (pre-order here).  In the theme of this awesome short and sweet song, I will also keep this post short and just tell you to have a listen below.

 [soundcloud url=”https://api.soundcloud.com/tracks/141717020″ params=”color=ff9900&auto_play=false&hide_related=false&show_artwork=false” width=”100%” height=”166″ iframe=”true” /]

New Jam From Bob Mould

MouldBob, It is a common mistake, sure, but it is Mr. Gray, G-R-A-Y.

Mr. Mould is back with a song that sounds like it is twenty years old, but still fresh as a daisy. Called “Hey , Mr. Grey”, the first single to hit the intarwebs from the pending Beauty & Ruin due June 3rd via Merge Records is a quick-hitting song following a classic formula of big chords and immediate lyrics. I missed Bob during SxSW, but had a chance to briefly chat during FFF late year. He seems energized, ready to play hits.

[soundcloud url=”https://api.soundcloud.com/tracks/140389851″ params=”color=ff9900&auto_play=false&hide_related=false&show_artwork=false” width=”100%” height=”166″ iframe=”true” /]

Show Preview: Superchunk @ Mohawk (2/6)

superchunk2

Date Thursday, February 6th
Location Mohawk
Doors 7:00 PM
Tickets $18 from Mohawk


When you talk about the legend that is Superchunk, you can’t just talk about the influence they’ve made musically, but also the influence they’ve had on modern indie rock music.  Mac and Laura founded Merge Records (one of our favorite labels) as a way to put out their own songs, and that of their peers.  It seems only fitting that these taste makers would team up with another up-and-coming act, Waxahatchee, to organize an incredible show for Austinites.  While the old school act has a bit of a pop-grunge sound, the young bucks are going to bring you a more noisy version of folk tunes.  Seems like the perfect way to spend a Thursday night.

[audio:https://austintownhall.com/wp-content/uploads/2010/09/1-01-Digging-For-Something-1.mp3]

Download: Superchunk – Digging for Something [MP3]

Hospitality – Trouble

hospRating: ★★★★☆

When Hospitality first appeared on the music scene two years ago, I raved about their debut album, which was full of whimsical and fun sounding poppy numbers. Now they’re returning with a sophomore release that feels like a take in a whole new direction. Gone is the odd and strange photograph from the album artwork, and in its place is a darker black and white picture with black stripes over it, which is parallel to the newfound gravity that Amber Papini and company have brought musically to the table with Trouble.

“Nightingale” gives out a dose of heaviness that you would haven’t imagined coming across on their first release; powerful guitar rivals in dominance with the vocals, each pushing at each other in a pure rock style. What you get is this lovely juxtaposition of the lightness of Papini’s vocals with the heaviness of the guitar at instances, and in others you still can see the simple whimsy of the band you fell in love with. From this first track, Hospitality shows that they have been doing some growing, but haven’t lost who they were from the start. The next track, “Going Out,” continues this trend of maturity and gravity, but in a funkier rendition. With its smooth percussion and subtle dance beat, Papini really seems to be in her element here, and I imagine it would be an excellent song to witness in a live setting.

A few tracks in, you may be asking yourself, just where is that quaint little Brooklyn three piece that I remembered liking so much? Well they are still there, and so is the fun, it’s just been redirected in the form of darkness, which I believe works exceedingly well for this group. “Rockets and Jets,” a sultry, synth based number, will have you bobbing your head and perhaps even busting a move with the best of them. My personal favorite track comes a bit later on, with “Last Words,” a sprawling further trip into the synth dance trail, which is infectious and subtle; Papini’s vocals are mixed with some male vocals as well to give a new element of duality you haven’t yet met with this group. They merge this dark track with the aptly titled “Sunship,” that will have you yearning for that lovely feeling of cool spring breezes and warm sunshine.

As I mentioned with their last album, what Hospitality does remarkably well is the variation in song length and style. They seem to have locked down just exactly when to be brief and when to let a track linger on, which provides for a lack of dull moment on Trouble. What’s better than no dull moments is an album filled with standout tracks, which is what you’ll find here. Have a listen.

New Music from Hospitality

hospitalityWhat a difference an album can make!  The first effort from Hospitality was a joy, filled with catchy folk-influenced tunes that you could sing whilst still feeling a bit introspective.  But, as evidenced by their latest tune, which is slated to be on their new record, Trouble, they’ve taken things into a more sinister place, at least in so far as the mood created.  I also think their sound has expanded, filling out some of the empty space that may have been present on their first effort. This tune definitely has me intrigued, wondering if they can maintain their exuberance while going darker (you can hear another tune HERE).  I guess we’ll all find out when Merge releases the album on January 28th.

[soundcloud url=”https://api.soundcloud.com/tracks/128220679″ params=”color=ff6600&auto_play=false&show_artwork=false” width=”100%” height=”166″ iframe=”true” /]

King Khan & the Shrines – Idle No More

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.

The Love Language – Ruby Red

The-Love-LanguageRating: ★★★★☆

It’s that time again in Austin: the weather is unbearably hot, and the days seem to last forever as the sun sets late, and the kids, out for the summer, frolic in public pools and sprinklers while you count the days until the oven breeze turns to just a warm breeze. Yes, that’s right, the dog days of summer are upon us. But never fear, The Love Language has just the release to give you a new lease on summer; Ruby Red is just about as refreshing as a cool plunge into Barton Springs.

On this third studio release, The Love Language, headed up by Stuart McLamb, have put together an album filled with straight up rockin’ jams that will have you coming back again and again. First up is one of these infectious tunes, “Calm Down,” which begins with a groovy bass line and a frenzied drum beat. A few seconds into the song, you get McLamb coming in with his echo-y vocals and the words “don’t look back now…” right before they launch full speed ahead into the song. It seems like a fresh start for the group and an invitation for you to come right along with them and forget the past in a blur of garage rock mixed with a hint of lo-fi coming through; the dual vocals on the chorus give it that lo-fi flare, grounded in the jangly, all out explosive instrumental ending. And that’s just the first song.

Continuing on this positive start, up third seems to be the song that has made it’s way into my favorite slot: “Hi Life.” It’s one of those numbers that just seems to shine and glitter, with its layers of instruments, horns included. These layers help each song stick out from the next: every track battling for more depth of said layers than the track before it. Right in the middle of things, you get a number like “For Izzy,” that slows down the roaring pace, but McLamb keeps you right there with him with his vocals that may not float atop the mix, but whose far away quality makes you hang on to his every word, while the slow, waltz-esque beat dances next to him. This number especially reminds me a bit of The Walkmen, which is never a bad thing.

Overall, Ruby Red seems to be a step in a more garage, and more colorful direction for The Love Language. On their last album they seemed to stick to a milder path, but Ruby Red is pure rock n roll. Have a listen and enjoy the rest of summer. Perhaps this is even an album to carry you right on through the rest of the year.

Jamming out with King Khan and the Shrines

kingkhanLong have we adored KK and the Shrines, and we’ve been excited since they first announced their upcoming for Merge Records.  On the latest single, there’s definitely a bit of restraint, at least for my ears.  The song holds back from the typical garage rock pummeling, using an effects pedal to sort of provide a tripped out stomp; I like the clarity of the vocals throughout as well, which is a touch of a change.  They’re titling the album Idle No More, and it will hit streets on September 3rd.  The release will also see a world-wide tour, though, sadly, there’s no scheduled Austin date.

[soundcloud url=”http://api.soundcloud.com/tracks/95409544″ params=”color=ff6600&auto_play=false&show_artwork=false” width=” 100%” height=”166″ iframe=”true” /]

1 2 3 4 5 6 12
Social Media Auto Publish Powered By : XYZScripts.com