Michael Angelheart has spent the better part of the last decade playing in Scott and Charlene’s Wedding, a band that had him bouncing back and forth between Melbourne and NYC, not to mention the various tours around the world. In that time, he was able to record a bunch of tunes on his own with friends from Real Estate and the Ocean Party (both bands we adore), and now those are all put together in one great record. As you’d expect, the record is filled with great little guitar pop tunes like standout single “What If You,” though I’ll admit I’m really partial to “Holding on for the High” and “LSD (Got a Hold On Me).” There’s bound to be something for you all in here, so dig into Michael’s Best of Vol. 1 2012-2017.
It’s probably easy in the guitar-pop stage of the music world we’re in to make comparisons to Real Estate, but I don’t think you’ll find a single band as on point in that style as South London’s Margot. You’ll immediately notice the way the guitars have this sharp intermingling in your ears; you’re going to feel like you’re cruising down the highway with a huge freaking grin on your face. What really sold me on the group was the softness of the vocals; they seem feathery in comparison to the guitar work, lending a dreamier quality to the sound than one would first offer up. A debut EP is on its way shortly!
Tonight is one of those rare nights, where everything aligns, and Austinites are set to make some difficult musical choices. If you’re looking for live music, some heavy hitters and some local heroes are playing this evening…so just click the jump and see what’s happening tonight.
There’s also some jams hiding down there too!
With SXSW this year there was lots of hubbub about fewer bands and less corporate entities flooding the streets, but despite all that, I still managed to have myself a good old time. I’ve got some thoughts and awards to hand out, and these are strictly my experience, as we tried at ATH to split up and cover as much as we possibly could. You can read on, if you’ve got the time, to see what I had to say. Read more
These lists are everywhere, so you’ll be excused if you just roll your eyes and skip on. But, that being said, we always seem to be way off the mark when it comes to our Top 50 Albums of the Year. Sure, we have some of the sure fire hits on this list like Angel Olsen and Sharon Van Etten, but don’t even read on if you’re look ing to see where Run the Jewels made it…they’re not there. Sorry not sorry. So, if you’re into arbitrary lists by people who like to push their own agenda, then this list is for you! Read more
It is time. Though it’s hard for me to believe, it’s time for us to start gearing up for yet another ACL Festival in October. ATH has done this thing a few times now so we feel like we’ve earned the right to offer a little bit of advice about bands to see and the proper way to go about attending. I’m jumping off our coverage today with a list of 5 bands I think you should see over the 2 weekend event. As a disclaimer, I typically recommend bands that many people either don’t know very well or write off for whatever reason. So yeah go see Spoon & The Replacements for sure, but let’s not forget about the underdogs. Let it begin after the jump.
Here in Austin, whenever March rolls around we usually find ourselves baring our arms and legs to the air, the weather on the toasty side for what most would consider to be the end of winter or the beginning of spring (though the recent uncharacteristic cold snap would suggest otherwise). What that means for us is that we are ready for sunny and breezy indie pop long before most other parts of the country. So if you’re still trudging through snow and ice, you may not think you’re on board for the bright and surf-y guitar riffs of a band like Real Estate quite yet—Atlas may just change your mind.
Real Estate have already arrived at their third full-length release with Atlas, despite forming as a band just four short years ago. Their first two records were widely hailed in the indie-sphere, allowing this conglomerate of talented gents, some of which have their own successful projects outside the band, to keep progressing in their sound. “Had to Hear,” begins the album, instantly evoking the mood of a perfect spring day that’s perhaps chilly in the shade, but balanced out by the sunlight. The angular guitar riffs are there from the second you press play, but you don’t really focus on them until the choral hook, akin to the sun emerging from the clouds of winter. It’s a long number, pushing five minutes, but a welcome lengthy introduction to the record. The instrumental outro yields itself to grooving along to the tame jam.
“Talking Backwards,” and following track, “April’s Song,” are a back to back combination that should have fans of this group salivating and those who have never heard this band before completely hooked; here are two songs that perfectly compliment each other with the effortlessness that Real Estate have on lock. The first of these two songs is a sure single for the group, with their premier dueling guitar riffs abundant and Martin Courtney’s semi-transparent vocals adding another layer to the guitars in its angular qualities. The soft percussion compliments the sharp hooks of the guitar, generating a dreamy soundscape for you lavish in. The end of this song builds to a climactic finish, which would suggest a drop off to the next number, but they compensate with “April’s Song,” an entirely instrumental number that will bring you down slowly from the high of the previous track. If these two tracks weren’t enough, it’s impossible to forget a slower number like “How Might I Live,” where we see a slight change of pace as well as vocals for the group, while maintaining their signature sound, though with a touch of blues.
There’s nothing to really dislike on Atlas—it’s solid through and through. My only qualm is that it doesn’t really push my already established appreciation of this group to a new level; the tracks aren’t a stretch from what this band has already done on previous albums. This however, does not diminish their worth, nor their ability to make you feel like you’re strolling amongst flowers in bloom on the perfect day, which is a feat in itself.
The Flower Lane is the third studio album from this group, fronted by Real Estate’s Matt Mondanile. The band specializes in garage-esque, murky alternative rock music, though they take a step further into clarity with this release.
The album starts out on an unmistakably high note, with “Ivy Covered House,” which is one of those tracks that makes you yearn for that perfect sunny day so you can roll the windows down and just let the breeze ruffle your hair—it’s that glossy and smooth of a tune. This first number is just about as full of jangly guitar as possible and it is as though Matt Mondanile is evoking the style of his other band, Real Estate, which is far from a bad thing. Regardless, when the band circles around to the final repeated chorus after a short instrumental break, it’s impossible not to be onboard.
Though this is about as jangly as Ducktails go on this album, and the next few tracks put some distance between its sound and the others. Two tracks later on “Under Cover,” the band still has their swirling guitars, but have leapt into the realm of jazz, complete with saxophone interludes; it is safe to say that this isn’t a predictable Ducktails track. That being said, this album is quite a different step for the band, not only in a decrease of fuzziness via the production, as well as the different experimental directions they take.
But what is interesting about The Flower Lane is that if you skipped ahead to the latter part of the album, you’d probably be confused as to if you were still listening to the same band. Though they have already jumped a few genres earlier, there are a few tracks toward the end that don’t really seem to fit in with the rest of the tunes on this album. “Letter of Intent,” the second to last track on The Flower Lane, is really more electronic than anything Ducktails has put out up to this point in time, as it is a collaboration with Dan Lopatin on Synths, and the feminine vocal styling of Jessica Farkas of Future Shuttle. It’s a groovy number, but it really strikes hard as out of place after you’ve been listening to a primarily guitar motivated album. The track before it, at roughly two minutes long, “International Date Line,” retrospectively only feels as though preparation for the track that follows, but alas, it still doesn’t really sit right when the band returns to their ‘normal’ sound on the final track after it.
Even with this odd ending, this album is still one that has a number of good songs to entertain those who are a fan of garage rock. So if you haven’t yet, give Ducktails a spin.
Our year end coverage begins with the three chiefs over at the ATH offices reveling in what was an incredible year in Austin, musically speaking. Tons of rad bands blew us away with their live sets, and, well, there were just tons of bands. I think we did more show coverage this year than in previous years, but as always, the great thing about our site is diversity. We’re also linking back to our full reviews and photos of some of these nights, so you can get more of a feel of our thoughts, not to mention, checking out Brian’s great photographic 2012. Read on for thoughts on live acts from the three main contributors.
Saturday’s shots include Residual Kid, The Young, Gold Fields, Brendan Benson, Daughn Gibson, The Helio Sequence, Braid, The Spits, Surfer Blood, Tanlines, Paul Banks, Real Estate, Wavves and PiL. More from around the fest, of course. Fun was had by all, just bummed that I missed shooting Refused from the pit. It was “too busy”.
Click through to feed your eyes…