Tag: new album

Standard Fare – Out of Sight, Out of Town

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Rating: ★★★★☆

Recent years have seen a reemergence of power-pop, which really just adds up to kicking out hard-rocking tunes with a whole lot of sheen.  Sheffield’s Standard Fare definitely have an affinity for the purity of pop, and their newest album Out of Sight, Out of Town, will have you applauding for both its simplicity and quality.

Trickling guitar lines introduce you to Out of Sight, Out of Town by way of “The Look of Lust,” just as you meet the attractive vocals of Emma Cooper.  For a few moments, the band shows some restraint, softly approaching the main part of the song, which features a certain sharpness in song composition.  Little flares, such as changes in the vocal delivery and the addition of strings make this a track you’ll listen to years from now. As they move into “05 11 07” the pace is picked up, but the plot’s still the same, using the charming lyrics of Cooper to unite splendid guitar play.

But, just as you start to fall for the pattern, Standard Fare throw in a little bit more of a jangle your step, and theirs.  Clearly Emma is the star of the show on “Suitcase,” with an underlying bit of sexuality lurking beneath her vocals, reminiscent of Victoria Bergsman in a much more playful manner. However, the band isn’t content to just give you bubblegum pop from the female sort, as Danny How takes over on “Kicking Puddles.” This track has a real familiar feel to it, just with a heavier dose of guitars; it’s like Beach Fossils crashed into the UK pop museum. How also takes a lead role on “Bad Temper,” a song that definitely hits furious and fast.

While there’s a nice straight-forward pop theme on Out of Sight, Out of Town, it’s the band’s playfulness that really gives them the extra step above many of their peers.  The reggae rifts that permeate “Half Sister” demonstrate that the band’s still working on fleshing out their sound as a whole, especially with a small dose of catchy hand-claps.  And while they’re willing to push the envelope a bit with their music, Standard Fare can also kick out traditional ballads like on “Early That Night.” It’s the slowest track on the whole album, but one you all the hip kids should definitely play while their hosting the next hip dance party…you know, just so you can actually get to touch the opposite sex.

One of the best thing about writing record reviews is finding a record you can repeatedly go through from start to finish, wanting to write about every single song, and that’s precisely what Standard Fare have accomplished here. Out of Sight, Out of Town is an effort that’s sharp, clever and ultimately enjoyable for all fans of pop music.  It’s the best type of record there is, so have fun enjoying this wondrous gem for some time to come.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/03-Suitcase.mp3]

Download:Standard Fare – Suitcase [MP3]

Laura Gibson – La Grande

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Rating: ★★★½☆

The folk soundings of Laura Gibson are marked by a variety of sounds. While the words simple yet elegant seem fitting to describe such an artist, I think intricate and raw also have their place in the description of La Grande. However, through all of this soft and roughness, Gibson’s sugary vocals remain constant, serving as the syrup to run between the sounds. In its folk genre, this album seems to go a lot of places and somehow stay in one place.

Strewn through La Grande are various instances of gentle serenity, which seems to be the bigger of the two paths that this album takes. You have moments of subtle beauty apart from the obvious pretty voice of Gibson of herself and the accompanying, soft acoustic guitar. On the second song, “Milk-Heavy, Pollen-Eyed,” these subtleties culminate to produce a solid, slow moving gem; the quiet xylophone, Gibson’s meek voice meandering through the song, the bare minimum percussive elements make the track feel a little sleepy, and yet ever enjoyable. Another instance of this chill folksy combination is on the later track, “Crow/Swallow” in which Gibson croons simply over some guitar plucking, which makes for a calming listen.

On the rowdier side of things are songs like opener and title track “La Grande,” on which the emphasized percussion reminds me a bit of The Dodos; the very base of the song is the constant, stomper of a beat. Of course, Gibson’s vocals prove a start contrast to the deep drums that resound deeply towards the end of the song, giving it that edge to avoid the song turning into a mess of beats and dulcet tones. Another song that rides the rowdier waves in a stronger percussive sense is my personal favorite, “Skin, Warming Skin.” On this track, you’ll find the build to a climax that is lacking in places elsewhere on the album. Gibson’s voice contrasts with the likes of drawn out guitar sound and eerie backing “oohs.” It’s easily the most interesting song on here.

Overall, this album isn’t entirely overwhelming, but it will present you with moments that can overwhelm you. Sure, you will have some instances in which you are even underwhelmed a tad, but the music is presented in many forms and Gibson leaves it up to you to discern your favorite—the simple combination of honeyed vocals and guitar plucking explored in a slightly new light in some instances and shining in the same glow in others.

Matt Pryor – May Day

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Rating: ★★★½☆

I’ll admit that there’s definitely a soft spot in my heart for Matt Pryor, though I was less than enthralled with his last effort with former band The Get Up Kids.  Yet, despite that misstep, he’s always had a great ability to craft songs with lyrics that somehow find attachment to my heart. Love him or hate him, you can’t deny that he’s been warming his way into our hearts from the get-go, and May Day is just another example of his perfectly executed work.

“Don’t Let the Bastards Get You Down” opens the record, and the title alone should make it a timeless song, as we’ve all been in those shoes.  But, what really stuck out to me is the rough quality of the recording that’s present.  It sets the tone for May Day, providing listeners with a personal experience that’s both raw and beautiful.  “The Lies Are Keeping Me Here” similarly accomplishes the same note, particularly when Pryor’s vocals strain in the middle track.  You’ve got to appreciate a singer who’s willing to give his all on the microphone and his music.

While Matt Pryor’s work of the last few years has definitely held a hint of melancholy, he’ll craft a nice little ditty to catch you in its hooks.  Such a song is exemplified in “Where Do We Go From Here,” a song that features a playful piano line that works its way behind a nicely strummed guitar.  I think he even makes a nod to “worse for the wear,” which old Pryor fans will surely recognize (I hope!).  For the most part, this is about as bright a moment as you’ll find lurking on the album, as the rest takes on a rather serious tone.

Still, one of the things fans of Matt’s solo work will appreciate is his ability to really step outside our expectations with inclusions of multiple instruments on his solo outings, such as harmonica, banjo and various other nice touches.  “As If I Could Fall In Love Again” might do it’s best to incorporate all these elements into one song–but Matt’s background vocals are probably the best touch to this particular track.  But, just as he’s likely to fill up a song with instruments, he’s also willing to strip everything down to its rawest form on May Day.  “As Lies Go..This Ones Beautiful” is basically a stripped down, personal ballad, with Pryor’s voice taking the lead role here.  He’s always been a little off-pitch, but that’s always been something that made him endearing.  Here, you’ll find him as stark-naked as a musician as you’ve probably seen him, and you’ll be rewarded.

I’m predisposed to love Matt Pryor, but I’ll admit dissatisfaction when it’s warranted.  However, there’s not a bad track on the duration of May Day; each track has its special moments, some more so than others.  I suppose you could complain that there’s no incredible songs blowing you away, but it’s better to look at this record as one full of really good tracks.  Whether you grew up listening to the old emo, of which TGUK and Pryor owned, or you’re just encountering him, one listen here will bring you vast listening pleasure, the likes you won’t really find elsewhere in the current climate.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/09-Your-New-Favorite.mp3]

Download:Matt Pryor – Your New Favorite [MP3]

New Tunes from Yellow Ostrich

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One of the records that I thought a lot of people overlooked was The Mistress by Yellow Ostrich, which was later deservedly reissued.  Finally, the band returns with Strange Land, which will hit stores on March 6th via Barsuk.  This first new glimpse finds the band confident as ever, offering up a nice piece of indie rock with crashing cymbals and clever bits of guitar chords swirling about.  It harkens back to a more straight-forward approach to songwriting, free of gimmicks for the most part, instead focusing on lyrical content that requires a great deal of your attention.  It’s always a pleasure to see this sort of music resurface in the greater landscape; don’t you agree?

[audio:https://austintownhall.com/wp-content/uploads/2012/01/03-Marathon-Runner-1.mp3]

Download:Yellow Ostrich – Marathon Runner [MP3]

Mellow Country-Tinged Track from Lucero

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Those of you who’ve been fortunate enough to follow Lucero over the years surely know how great of a songwriter Ben Nichols can be, and with his group filling in the empty spaces, they always craft great songs. Ben’s voice always provides a bit of scratchiness to your listening experience, giving a nice little twist to typical Americana.  You’ll find just such treasures on the group’s new album Women and Work, which comes out on March 13th via ATO Records.  This new single is about as mellow as the band gets, with bits of twang, horns and slide guitar being utilized to create a strong backbone for another great Lucero track.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/09-Sometimes-1.mp3]

Download:Lucero – Sometimes [MP3]

Cloud Nothings – Attack on Memory

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Rating: ★★★★☆

Dylan Baldi is hot right now, there’s no mistake about it.  Ever since releasing the self-titled Cloud Nothings album, his star has continued to rise, and deservedly so.  Now, his band returns with their latest album, Attack on Memory, determined to shift gears a little bit by going into the studio with the heralded Steve Albini.  The collaboration definitely alters the group’s sound, yet through it all we’re watching the evolution of a talented band.

Immediately upon hearing the first track, “No Future/No Past,” you’ll realize there’s a drastic change in the overall sound.  Where the band was once brash and pummeling, you find them here in a more brooding state, building the listener towards the emotional release of the song.  What’s great about the track is that you can feel it coming, you’re just not sure when that moment will come to fruition.  Rest assured, the time will come.  And from there you blast off into what is probably the most dynamic track on Attack on Memory, “Wasted Days.”  For a brief moment, it seems as if a more hammering approach to the stylings of Cloud Nothings has evolved, but as the song is well over 8 minutes, one can’t hope to hold that ferocious energy for too long.  And they don’t, offering up some jammy post-punk moments that wear a little bit towards the end.

Still, despite the altered sound on the record, there remains that knack for creating a sharp-edged hook that really captures listeners, such as the opening “fall in, fall in” line that comes with “Fall In.”  Okay, so perhaps it’s redundant a bit, but the drumming and Baldi’s voice are sufficient in carrying out the immense pleasure in this number.  “Stay Useless” offers up a more mature sound overall, though it definitely harkens back to the prominently more energetic times of early Cloud Nothings. Again, Dylan’s forte seems to be his ability to craft momentary hooks in the midst of a track that do more than enough, even with just brief lyrics like “I need time to stop moving, I need time to stay useless.”

Although the album seems brief, at least in the number of tracks – eight, there’s definitely more attention to detail in the fleshing out of tracks, giving more depth and vibrance to Attack on Memory.  You’ve also have to love the slight alterations that really craft beautiful moments like the album’s closer,  “Cut You.”  This song definitely lives somewhere in the post-grunge workings of 90s indie rock, and yet the group sounds refreshing, perhaps because of all the work they’ve put in leading up to this track. It might be the unassuming best track on the album.

For all the hubbub surrounding the usage of Albini and crafting a record around the influences on Cloud Nothings, they’ve really crafted a record that makes them seem a bit louder, a bit more thoughtful, and every bit themselves.  It’s difficult to live up the expectations of the masses, especially when you’ve risen to popularity so quickly, but Attack on Memory serves notice that the group is growing in confidence, both in sound and personality; we’re all better off for it.

[audio:https://austintownhall.com/wp-content/uploads/2011/11/01_No_Future_No_Past.mp3]

Download:Cloud Nothings – No Future No Past [MP3]

New Rocker from X Ray Eyeballs

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It’s been a busy few years for XRay Eyeballs, the project of several members of Golden Triangle; they released a full-length, a 7″, and now they’re back with a new album titled Splendor Squalor.  Their new effort will come out on February 28th via Kanine Records, and you know we’ll be supporting this group.  If you’re looking to make a musical connection, think of The Kills with a mid-70s Max’s Kansas City vibe to it; it’s fueled by bits of garage rock with hints of sexuality tied into it. These guys always make for a great listen, so get on it now.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/03-X-1.mp3]

Download:Xray Eyeballs – X [MP3]

Cate Le Bon – CYRK

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Rating: ★★★★☆

It’s possible that you haven’t yet heard of any work from Cate Le Bon, nor even heard of her, for that matter, as this is only her sophomore effort from her and her backing band. Some things you should know before we proceed: Yes that is a Welsh accent. Yes, Le Bon’s debut EP was a Welsh language release. Yes, her voice is exquisitely interesting. No, it is not the only thing worth talking about on CYRK.

Le Bon wastes no time what-so-ever in jumping straight into the jams. Forget intro tracks or minute long build-ups, “Falcon-Eyed” is everything, all at once without so much as a few seconds notice. It is roaring first track, quick and snappy in nature, filled with Le Bon’s swirling vocals, paired with racing drum beats and jangling, fast paced guitars. It comes across as one of the most ‘rock’ songs on this album, when viewed along with the others, and it leaves you thirsty for more when the two minutes and forty-nine seconds comes to a close.

Although the Speed Racer pace isn’t held for the next song, the slower, cooled “Puts Me To Work,” highlights the vocals as well as the instrumentation, while setting a more appropriate pace for the rest of the album. The smooth vocals combine with twang-y guitars to bring each element to a happy medium, while the drums and keys fill in the spaces. This continues to the title track, which spirals and twirls in an eerie fashion along to a methodic beat, which essentially carries through for the duration of the album; it’s easy to find yourself twirling along with Le Bon, lost in her ironically dreary lyrics in respect to her airy vocals.

Sure, the first thing that you will notice upon listening to CYRK is the vocals. When Le Bon strikes the opening notes, you are instantly drawn into whatever she is singing; her eerily bleak voice carrying the rhythm resides in the background. I mean, on first listen, you could really care less what is going on behind that enigma of sound. You are so focused on the oddly tender yet fierce voice that it’s easy to let the rest of the music just sort of fade away in your entranced state. While it is easy, and also sort of the point of this release, to be daunted by Cate Le Bon, give this album two listens; one to marvel at the vocals and another to appreciate the instruments backing them. What you’ll find is something darker than the whimsical vocals convey on the surface level, something distorted and fanciful, akin to the title’s translation of “circus posters.”

Incredible New Pop from AU

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When you first press play on the new single from AU, you get the feeling that it’s going to be that sort of sprawling track that ambles on and on, but you’ll soon learn that there’s more to it than that, as the band jumps off into a quick paced romp of their own liking.  It’s the unexpected twist that makes the group so enjoyable to listen to time and time again.  You can find this track and others on the band’s upcoming Both Lights LP, which will land in stores on April 3rd by way of Hometapes.  If anything, at least give the group credit for moving outside the typical pop structures.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/06-Solid-Gold-1.mp3]

Download: AU – Solid Gold

 

Cutting New Track from The Beautiful View

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A few years back, angular dance rock was all the rage.  And while we might have moved away from that a bit, it’s nice to hear some people still getting their dance-rock on nowadays.  Such is the case with the Beautiful View, who will be releasing their debut album, life is beautiful, this week on Requiemme Records.  This song features that ringing guitar you might remember from Bloc Party, as wll as a steady pounding rhythm section keeping it moving for your dance floor preferences.  One thing’s for sure: this record’s going to get your feet tapping!

[audio:https://austintownhall.com/wp-content/uploads/2012/01/01_The_Horseman.mp3]

Download: The Beautiful View – The Horseman [MP3]

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