Ticket Giveaway! + Dinosaur Jr. @ the Mohawk (10.4)

This is history here folks.  It’s not J. Mascis solo; it’s not some other line-up; it’s the old school SST Records line-up, fresh off the release of their newest release, I Bet On Sky.  We’re lucky that Transmission is continuing to bring such solid shows to our town, and they’re not just here to make a buck, they’re here to keep our rock n’ roll community alive and bumping.  If you want to see Dinosaur Jr. for FREE, all you have to do is leave us a number between 1-1000, and I’ll give the one closest to my number a pair of tickets to the show Thursday night.  Incredible openers (and locals) Shearwater will be opening, so show up early to make the most of your night.  We’ll pick the contest winner by 10 AM Thursday, day of show.

[audio:https://austintownhall.com/wp-content/uploads/2012/10/01-Feel-The-Pain.mp3]

Download:Dinosaur Jr. – Feel The Pain [MP3]

If you don’t think you’ll win, you can buy tickets HERE. Doors are at 7 PM.

Allah-Las – s/t

Rating: ★★★☆☆

I’ve really been wrapped up in the Allah-Las since I first stumbled upon their early 7″.  The group seems to encompass everything about the musical history of California, harkening back to the state’s glory days, which may or may not leave the band with some detractors.  Their self-titled debut lives up to my expectations, though it does seem to get stuck in one place for a bit too long.

If you run straight through the first several tracks, you’re going to get the exact feeling of this debut by Allah-Las. “Catamaran” opens with a wayward psychedelic jangle, employing gang lyrics to provide an extra bit of emphasis.  It includes a chorus of “I want to hold your hand/I want to be your man,” which seems to epitomize everything my father taught me about falling in love with the 60s.  “Don’t You Forget It” has a bit more of an angular guitar line, but it still seems to have that Eastern guitar sound popularized during the hey-day of Haight Ashbury.  Don’t take this to mean that there’s nothing ultimately pleasurable in traversing the annals of history, as the group makes it their own, especially when the guitar brightly dances off on its own.

For me, the standout track comes after the group takes an instrumental break with “Sacred Sands.” “Sandy” is perhaps one of the best songs the group’s put together.  There’s an effect on the gang-vocal section that creates more intimacy with the listener, which isn’t always present on the rest of the lyrical development throughout Allah-Las; it’s almost as if they’re all whispering in your ear.  Throw this in with “Catalina” and you can clearly see that re-hashing isn’t the sole purpose of this record.  The group’s inspired by their home state, as the latter song indicates.  It’s percussion perfectly fits with the mood of the record, matched evenly with the swirling guitar work and the fluid vocal approach.  It all leads up to album’s last track, “Long Journey,” the song that I think most closely resembles my expectations and fascinations with the group.  At its heart, you can almost feel some acid-induced boogie, but here they slow it down to the most mellow tempo their style allows, giving the song and listener room to breathe.

For what it’s worth, I went out and bought this album.  I’m obsessed with the Allah-Las; I think no one out there has completely captured the sound of the California psych-garage scene quite like these guys.  But, that being said, their self-titled debut does lack a little bit of pace or a little bit of mixing things up.  A few instrumental tracks here and there do give you a chance to calm yourself, and that’s great, but perhaps a fast-paced jangler or a long-drawn out smoke-shop ballad would have made this record something out of the park.  Do yourself a favor though, and sit down with this record.  Absorb it, appreciate it, and you’ll definitely look highly upon this effort.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/Allah-Las-Dont-You-Forget-It.mp3]

Download:Allah-Las – Don’t You Forget It [MP3]

New Rock from Ceremony

So RayRay was complaining about how I dominated the site with “pussy rock” all Monday, so I wanted to start off your Tuesday with a re-hash banger that surfaced on Monday…that is before I return to my fall love of twee (more on that later today)  This jam comes from the powerful Ceremony, who’re doing a split with Titus Andronicus in honor of their tour.  It’s probably one of the cleanest rock tracks I’ve heard the group together, punishing your ears from start to finish.  Definitely a great live act, and their recordings just keep getting better.  You gotta head to one of the shows to grab these, but sadly no Austin date.

[audio:https://austintownhall.com/wp-content/uploads/2012/10/Ceremony-Everything-Burns.mp3]

Download:Ceremony – Everything Burns [MP3]

Levek – Look a Little Closer

Rating: ★★½☆☆

When a band deems itself belonging to the “Mickey-Mouse Tribal” genre, it’s difficult to know exactly what they mean. I take it to mean music that’s paying homage to another time—a sort of nostalgic music. Still, what does this entail? For Levek it means music coated in synthesizers and old-fashion elements of sound that bring you back to yesteryear, but which yesteryear is this band evoking? The 70’s, the 60’s, or neither?

To be honest, this album is a little all over the place: on one song you’ll find chill experimental music, on another you’ll find a track that sounds like something you’d hear in an elevator, and another evokes Grizzly Bear in its slow burning intensity. While all of the songs on Look a Little Closer fall along the same level of calm, there is a large disparity in the sound of this band from song to song, and this overall discontinuity disrupts the flow of such a record.

This disparity is present at the beginning of the album, until the sound that Levek decides to stick with appears. The first song, “Black Mold Grow,” has a chill, 1970’s vibe to it, complete with the meek vocals of front man David Levesque. The track is soft and seems to float on a layer of thin air, bouncing on light percussion and sugary harmonies, but then it bursts into a disco-y sound at the end, with layers of warmth that give it a full and rich texture.  Such rich texture dissolves by “Terra Treasures,” the third song on this album, which reminds me of a song you’d hear only in an elevator; the synthesized organ and the flat percussion doesn’t really go anywhere. Fourth up is “With a Slow Burn” whose bubbling serenity calls the sound of Grizzly Bear to mind. However, the second half of the album falls into the exact opposite pattern in which the songs begin to blend together in their similarities.

Now don’t get me wrong here, I’m all about diversity within a band’s sound, as it is what prevents all of the music on an album from meshing into one giant song. There is, however, a difference between continuity and the over-repetition of sounds. Look a Little Closer could use a little more of both of these elements in separate doses.

[audio:https://austintownhall.com/wp-content/uploads/2012/09/08-Girl-In-The-Fog.mp3]

Download:Levek – Girl In The Fog [MP3]

New Music from Trapped Mice

Typically, I don’t go straight out for the classic alternative sound, even with all it’s current production value and what not.  But, that being said, I’ve really fallen for this jam from Trapped Mice, a band hailing from the other part of Scotland, Edinburgh.  I’m obsessed with the way band incorporates lush instrumentation, wrapped around some incredibly lyrics.  You’ll also find a raw passion that introduces itself near the end via the vocal performance.  It’s the perfect first single from their upcoming record, Winter Sun, which is now on my watch-list. If you like organically-grown rock n’ roll, then this hit’s for you.

[audio:https://austintownhall.com/wp-content/uploads/2012/09/04-Mona-Lisa.mp3]

Download:Trapped Mice – Mona Lisa [MP3]

New Slow Jam from Beacon

Seeing as I’m doing work on Sunday with cooling weather and a rain-soaked yard, I feel like this new jam from Beacon warrants your attention.  While a great deal of the work I’ve heard from these guys is a little bit harder-hitting, I really appreciate the way this track unfolds. Electronic elements have a definite pulse, though they slowly unfold here, rising briefly at times, then retreating to their minimal status in the track.  Those looking for a chilled out tune will find solace in this number, which is one of the featured tracks on the band’s For Now EP.

[audio:https://austintownhall.com/wp-content/uploads/2012/09/02-Safetys-Off.mp3]

Download:Beacon – Safety’s Off [MP3]

Wistful Pop from Cape Canaveral

I hope you’re ready for some pop that makes you long for the days of yesteryear, with warm recordings and simplicity at the helm.  Copenhagen’s Cape Canaveral are one such band that caught my attention, encouraged by their adoration of Galaxie 500.  This new gem comes from their wonderful new single on EarDrumsPop, a non-profit label trying to make the world fall in love all over again.  I really appreciate the way this song was recorded, providing listeners with a really intimate tune that begs to be on every new playlist you make your friends.  Please check out the label and the band, and donate to the cause of both!

[audio:https://austintownhall.com/wp-content/uploads/2012/09/Cape-Canaveral-Moles.mp3]

Download:Cape Canaveral – Moles [MP3]

The Mountain Goats – Transcendental Youth

Rating: ★★★½☆

I can’t tell you how many albums I actually own by The Mountain Goats, the moniker of songwriter John Darnielle; I can say that its quite a few, including some early collections of demos. All I can say about Transcendental Youth, however, is that it’s a record that sounds more complete than anything he’s done to date, featuring careful musical accompaniment that wasn’t always present before.

Our newest affair with The Mountain Goats begins with a heavy-strummed track, “Ana aka Spent Gladiator 1.”  It’s a track that uses John’s traditional lyrical fare, encouraging his protagonist to push on despite various trials.  What I personally enjoyed here is the song’s heavy-handed approach, as if it’s more of a rock tune than the intimate numbers Darnielle’s composed for years. Interestingly, it fits thematically with “Spent Gladiator 2,” which deals with the same idea of fighting for survival in the world.  But, this tune is more of a softer track, made more beautiful by a sparingly used piano.

While the songs on Transcendental Youth largely deal with man’s struggle to face the challenges of life, the music goes back and forth between the intimate songs and more powerful numbers.  “Lakeside View Apartment Suite” revolves around a solid piano backbone, providing the feeling of solitude one would get if they were to play the role of the lead in this track.  There’s additional fleshing out of the song too, with drums joining in to give an extra bit of bounce to the song.  Still, the high points on the record go even further in depth with their additional accompaniment.

“Cry for Judas” uses a combination of The Mountain Goats traditional guitar strumming, rolling drum beat and a full horn section.  It’s one of the fullest songs I’ve heard from Darnielle and company, illustrating that while he has a penchant for the intimate touch, he’s continually growing his sound after all these years.  It also gives an emphatic boost to the record’s pacing, much like “The Diaz Brothers” does. Here, the pounding piano and handclap addition, along with some incredibly inspired drumming, gives the whole feel of Transcendental Youth more spirit that what I’ve seen before. Even when dealing with tracks about such lonesome figures, the bright-side of life is alluded to in both the album’s title and the spirit of the songs within.

For all intents and purposes, this is very much a typical Mountain Goats record.  It’s typified by Darnielles unique voice, both as a lyricist and vocalist, but the album is strengthened by full sound, featuring horns and more active drumming.  In doing so, it’s taken what is always a very intimate listening experience and given it a facelift, leaving you with a Transcendental Youth that is both personal and affecting.  Already a fan of the group, I’ve enjoyed this record immensely, and I’m curious to see where Darnielle takes himself next.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/03-The-Mountain-Goats-Transcendental-Youth-Cry-for-Judas.mp3]

Download:The Mountain Goats – Cry for Judas [MP3]

New Psych Tune from Wooden Indian Burial Ground

One of the my favorite things about listening to psych rock, at least as it stands today, is the way the lyrics are sometimes delivered–sort of brought to you by angst ridden Halloween heroes.  That’s the feeling I get when I listen to this new tune from Wooden Indian Burial Ground, who I’ve recently taken a liking to.  Musically, they sound similar to the jams that Thee Oh Sees might toss out in a live setting, using cutting guitar solos and screaming walls of feedback.  This is definitely more forceful than a lot of the psych fare out there, which might be just the reason I’m digging it so much. They’re debut self-titled album is out October 30th via Mon Amie.

[audio:https://austintownhall.com/wp-content/uploads/2012/09/Sparklerella.mp3]

Download:Wooden Indian Burial Ground – Sparklerella [MP3]

Natural Child – Hard in Heaven

Rating: ★★★★☆

After catching Natural Child several times over the last year, I’ll gladly say I’m a huge fan of their live sets.  I was hoping that they’d capture that raw intensity on their latest effort, Hard in Heaven, and for the most part they do push that onto listeners. But, when they decide to hold back and slow it down, just a touch, it might just make the record more enjoyable through and through.

When I pressed play the first time, I got exactly what I wanted with “Laid, Paid, and Strange.”  It begins with a furious guitar riff, and the group’s two man approach to vocal delivery snaking their way through lyrics about, well, getting laid and making money. They even add a crunchy guitar solo mid-track just to keep it interesting.  “Rock Bottom” bangs in next featuring fuzzed out guitar stomping and guitar soloing as the rhythm section pounds out a groove that definitely fuels the live energy of the trio.

Then they mix it up, slowing things down for a few, though the next tracks are actually growing to be some of my favorites. “What You Gonna Do” is almost a garage rock ballad, but it’s even slower, with the bass work stealing the show throughout.  And those wild vocals, from the earlier tracks, sounds smoother and polished, in just the right spots–these guys can do it all!  The title track from Hard in Heaven isn’t even close to a ballad; it’s a long, drawn out blue-y jam with some quieted vocals just walking longingly through the song.  Listening to this track will definitely give you more appreciation for the group’s abilities as musicians; there’s not to many people doing it up this way anymore.

And then Natural Child is back at it again with “B$G P$MP$N.”  Sure, the lyrics are sort of juvenile, but it’s clear just listening to the song that the band is having a blast just banging songs like this one out. This is the sort of song that has made these guys so endearing live; they’re passionate, no matter what they’re doing on stage, and I can appreciate that.  Still, the rest of the record is full of more surprises that show the band evening out their sound throughout Hard in Heaven.

“Derek’s Blues” nears the end of the record with a Soutuhern rock influenced jam that nears 6 minutes.  It’s almost like a party rock type, but for those that like to drown their sorrows and good times in cases of beer and bottles of whiskey.  Or there’s the group sing-a-long that ends the record, “Let the Good Times Roll.”  It still has a playful lyrical approach, but even then, there’s a classic storytelling aspect to what their doing.  The song’s mostly a guitar strummed affair, but it’s got bits and pieces of that new Natural Child flare, making it another pleasant winner that keeps me playing the record all the way through.

I guess some might be taken aback at first by this new Natural Child.  But, you can see their mark all over the record, even when they break out a blue-influenced jam.  They’re never going to take themselves too serious, and we all benefit from that. Hard in Heaven isn’t as balls to the wall as I wanted it to be, but after getting to spend some quality time with the album, I’m glad it’s not.  This version sounds more complete than what I had in my head, and I base that on the group’s ability to balance their sound from start to finish, leaving you with a refreshing amalgam of garage, punk, blues, and Southern rock that you won’t want to put down.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/05-BG-PMPN.mp3]

Download:Natural Child – B$G P$MP$N [MP3]

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