Tag: self titled

Seeker Lover Keeper – s/t

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Rating: ★★★½☆

Consisting of three ladies each established in their own field of the music industry, Seeker Lover Keeper fundamentally sounds like a good idea. Sarah Blasko, Holly Throsby and Sally Seltmann are currently some of the biggest Australian songwriters, previously writing songs for artists like Fiest, and touring with Lykke Li, The Tallest Man on Earth, Broken Social Scene and more. However, it takes more than apt songwriting and knowing a lot of great musicians to be great yourself, which poses the biggest question: do these credentials add up to a good album.

The self-titled album begins on a soft note; gentle strumming of guitar pieced together with ghastly “oohs,” before the sweet vocals jump into the song. First up, “Bring Me Back,” lets the audience find their way to this band and their elegant charms before they pick things up, serving as the getting your toes wet experience for the listener so they can jump in. On the next number “Light All My Lights,” some synthesizer gives the tune a little bit more of a life than the first song, but the real first standout isn’t apparent until the third track “Even Though I’m a Woman.” The piano that sounds at the beginning of the track carries it along, but the vocals, a touch raspy and whispery, yet dangerously sugared are, of course, the main focus and I’m reminded a bit of Regina Spektor in this piano/vocals combo. Some great harmonies can be found here, and the main chorus will have you singing along, or trying to, as it’s not very easy to keep up.

Throughout the whole album, the ladies change places as lead singer, writing songs for each other. Along with this passing of lead, there is also a transition from the overall sound of the band, which keeps the group from falling into a pattern, but also prevents one solid identity to be formed for these ladies and if you are a person who isn’t okay with change, then this may not be an album for you. However, I find most of the variety to be enjoyable and interesting, keeping me guessing as to what these power females will do next to change things up a bit. My favorite transition is the one from the edgy and rhythmic “Everytime” to the soft and wispy “We Will Know What It Is,” that follows immediately. Here, you can see the combined talent of this group.

Seeker Lover Keeper do not disappoint their credentials; you have some brilliant writing on this album, and delicate tracks that will catch your ear. As far as a first album, you get essentially what you would expect—a good start.

Incredible New Pop from The Proper Ornaments

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Don’t you love when you run across an incredible pop tune that you just can’t get out of your head?  This new self-titled EP from The Proper Ornaments is absolutely incredible, and you can definitely find yourself getting carried away listening to it on repeat.  For me, it reminds me of a smoother Beach Fossils, with the same sort of drum beat and jangle to the guitar lines, but the vocals definitely are a lot gentler.  Those in love with all things jangling and twee will find themselves falling head over heels for this record, so head HERE to get yourself a copy.

[audio:https://austintownhall.com/wp-content/uploads/2011/12/1-Who_Thought.mp3]

Download: The Proper Ornaments – Who Thought [MP3]

Twerps – s/t

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Rating: ★★★★½

For those of you just meeting Twerps, you’d be surprised at the evolution of their sound.  When we first heard them via the folks at Chapter Music, they were a pretty basic lo-fi group, spinning tape loops and coming off a bit lackadaisical on songs like “Good Advice.” On their self-titled record, you’ll get a much more focused group bringing it all home.

“Dreamin” begins Twerps, giving you cascading guitar chords that cut through the careful jangle-pop, even tossing in some backing harmonies from female member Julia MacFarlane. It’s as tight as the band has sounded since they were introduced, and such songs only solidify their presence in our musical world. But, you’re still going to find that carefree spirit within this album.

On “Don’t Be Surprised” Marty Frawley just tosses his lyrics atop a much slower paced jingle, sort of like you’d expect Dan Treacy of Television Personalities to do, that is until mid-track where they just kick it off with this beautiful bit of noisy pop, only to return to their melodious bit of fun.  Twerps use a similar tactic on what is not only the record’s best song, but perhaps one of the top songs of the year, “Who Are You.”  It embodies everything magical in a song: catchy bit of guitar playing, a cool bit of vocal delivery and relatable lyrics.  When Frawley goes into his “who are you/to be actin the way that you do,” it’s all perfectly fitting, and it leads up to the playful “we’ll get drunk/we’ll get stoned/we’ll get high/we’ll get drunk” line that accompanies each chorus. Simply put, there aren’t many songs from this year better than this.

One of the best things about this entire record is that Twerps simply keep you interested, going places you can easily see, but didn’t necessarily expect from the group.  “Jam Song” sort of fills the middle of the record with a rambling bit of ballroom stomp, always keeping their groove.  Or, you could skip a few ahead and find yourself at the simple spoken-word track, “Bring Me Down,” which is joined by a polite little bit of guitar strumming.  There’s pretty much moments for every type of listener out there, be it jangling pop moments like “Dreamin,” or a more-subdued Wavves feel like the closer “Coast to Coast.”  It all fits in with the band’s aesthetic, and it never seems to grow stale.

Twerps have been around for some time now, but this self-titled record is going to be one of the dates that you’ll want to remember, as a band that puts it together this well is very rare.  They’ve got hooks, they’ve got creativity and they even have a bit of attitude (or essence), all making Twerps one hell of a ride.  Mark my word, everyone is going to be talking about this group and this record for some time to come.

Currently you can listen to the whole album HERE. Or jam the opener below.

[audio:https://austintownhall.com/wp-content/uploads/2011/09/The_Twerps_-_Dreamin.mp3]

Download: Twerps – Dreamin [MP3]

The Postelles – s/t

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Rating: ★★★½☆

Hailing from New York City, The Postelles seem to have the perfect infectious sound for the summertime. With catchiness reminiscent to that of past releases of bands like The Drums and Surfer Blood, they have crafted a fairly simple, yet bubbling pop album in this freshman debut.

The album begins with “White Night,” which shows off the instant capabilities of this band to make you move your feet. Jangly guitar welcomes you in, along with some punching drums and the vocals of Daniel Balk. Fast paced and furious, The Postelles jump right into their rock and roll pop. Balk’s vocals, complete with a borderline yelp, are joined by the rest of the gang on the chorus, giving the illusion that this group belongs in an earlier era. It’s a fresh little number at two minutes and forty seconds, leaving you ready to skip back and start all over, but following is “Sleep On the Dance Floor,” which is a bass driven slower number, that still has the jamming guitar of the first song.

After these first two songs, it’s not hard to see the likability these guys bring to the table; each song seems fit for the beach, or ready to put on your summer party mix tape, but the fun doesn’t stop there. “1 2 3 Stop,” the band’s lead single, comes third on the album, and if the first two didn’t have you dancing, then this should surely be the one. On this track, you can hear the crashing cymbals above the rest of the chaos during the chorus, with Balk leading the way. His voice is edgy, allowing you to sing right along with him.

The rest of the album follows suit of these first three songs: a mixture of fast paced blazers of songs like “Can’t Stand Still” and “Sound the Alarms,” as well as those slower moving ones like “Whisper Whisper” and “She She.” It’s a fairly complete first album, with the majority of songs that you’ll be anxious to play over and over again. Some may be slightly put off in the end by the lack of depth; most songs are done in three minutes, but I find this album packed with energy and pure fun. Isn’t that what summer is all about?

Bon Iver – s/t

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Rating: ★★★★½

If someone were to tell me that a band with falsetto, auto tuned on occasion vocals, and folk music backing was one of the most soothing and beautiful sounding groups they had ever heard, I would probably scoff at them and laugh. When describing Bon Iver, it seems as though this band should not fundamentally sound as lush and gorgeous as it does, but I’m not complaining. After their first album, For Emma, Forever Ago, was released back in 2008, Justin Vernon and company have been gaining praise, as well as attention, and this sophomore effort certainly seals their place as giants of the Indie world.

From their last album, there is certainly not that much immediately different to the sound of Bon Iver. You have the faded and distant sounding drums, the swells and builds in sound, the delicate ferocity in Vernon’s falsetto voice. It’s all there, but now it sounds a touch more refined and practiced than that of the previous release, as though the band went the extra mile to make these tunes sound polished and pristine. On “Holocene,” the third track, the intricacy in the layers of sound is especially noticeable. Gentle guitar floats upon subtle waves of synthesizer, the ever-graceful vocals leading the song at a meander. Such is the kind of song where you just want to close your eyes and let the music hit you like a gentle breeze; it’s simply beautiful.

One of the more noticeable changes of this group is the distancing of lyrics and the focus on the sound of their wispy music. The instruments do not overpower the songwriting, but they share the space coming out of your speakers rather than the words riding above. This does make it a bit more difficult to discern exactly what words Vernon utters, which is only a drawback if you don’t have the luxury of looking them up in the album booklet. If anything, this vagueness makes me want to listen to this collection of dramatic songs more, in attempts to ascertain the meaning behind them.

The bottom line is that this album is simply magnificent. Whatever you want to call it, folk, drifting soft rock, it is beautiful in every song, in every note, and capable of pushing you emotionally. It is the perfect anthem for anything: driving, walking the dog, bedroom listening, and I can see this becoming a staple in a large number of listening catalogs. Rightly so.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/08-Calgary.mp3]

Download: Bon Iver – Calgary [MP3]

La Sera – s/t

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Rating: ★★★☆☆

Known for her bass playing in pop punk super star band Vivian Girls, Katy Goodman has been looking for side projects since spring of last year. She tried her ways under the moniker of All Saints Day, and even released a seven inch. However, it apparently didn’t stick, and Ms. Goodman moved onto her latest project. Enter: La Sera.

 Like Vivian Girls, La Sera has those cutting guitars and the presence of Goodman’s wispy vocals. However, while her voice takes a backseat on her full time band, it is the main element of distinction to this album. On “Beating Heart,” the opening song, her voice is layered upon itself to create echoed sugared oohs in the background. The clear guitar contrasts with this vocal quality, and builds up to the breaking point of the song. This is when the clarity of the guitar shifts muddier, wrapping up the bubbly lo-fi track before its close. Next is “Never Come Around,” one of the singles from the album. Some tambourine spices things up right off the bat, mixing effortlessly with sunny vocals and thus the airy yet viscous song—the norm for this album.

I think what makes this album decent is that Goodman knows her limitations; most of the songs barely reach two minutes, which sharpens the difference in between them, so that the listener doesn’t get caught up in the thick and sticky jangly songs that this album is chalked full of. In this way, the album is able to have those crests and troughs, all while staying close to that happy medium. It doesn’t become too complex for its own good and frankly none of the songs are what I would call bad or boring.

While its shortness is what makes La Sera, it also seems to be what breaks it. When reaching the end of this quick burst of energy album, it’s fairly easy to forget the latter part. The simplicity of the whole thing turns on itself, and suddenly it’s over, and you haven’t really been taken anywhere: like running on a treadmill. Slight fluctuations were present, the songs varied, but there was never that pop punk power punch that knocked your socks off and left you satisfied.

All in all, it’s still a pretty good way to spend thirty minutes of your life. Goodman hypnotizes you with her serene pop/lo-fi tunes, as any good jangly guitar album should.

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

Download: La Sera – Devil’s Hearts Grow Gold [MP3]

Cult of Youth – s/t

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Rating: ★★★½☆

The minute we heard “New West,” the first single from the self-titled album from Cult of Youth, I’ll admit that I was more than intrigued.  It’s got a bit of a old barroom punk rock ethos, yet the more I listened to the track, the more I discovered about the band and their sound.  Sneaky strings lurked in the background, and that dirty bass line never ceased to grab me.  Dirty alcoholic punk mixed with strings you say? Yes, I do, and oh so much more.

Kicking off the record is “New West,” the aforementioned track that really piqued my interest.  Sean Ragon’s desperate growling vocals evokes a bit of spirit I long thought had disappeared. Despite the song’s desire to have this layer of grit, there’s still an uncanny beauty from the guitar parts matched with the related string instruments.  It’s quite a special track.  From here, the band really sort of keeps pace with this sort of shantie-like track, as if the band’s leading you to sea with their brash blend of folk and punk ethos.

Track four, “Casting Thorns” is when the band begins to alter the sound, creating a space for the string arrangements to really shine in the forefront.  Ragon doesn’t have the same raspy vocals, seeming more calm here as he strums the guitar.  But, there’s still a level of darkness that underlies the track, giving a bit of an angrier tint to the traditionally folk sounds apparent here. It’s this sort of change that leaves the band sort of stuck in the middle of their own sound, which has both positive and negative attributes.  “Through the Fear” even introduces a bit of horns, making the band sound increasingly dynamic.  It’s good to see that the band evolves beyond the sound that I originally noted them for upon my introduction to the group.

The latter half of the album does tire a bit, though there are some exceptional tracks hiding here. “Lorelei” has a great strummed guitar driving the song along, and Ragon’s baritone sounds incredibly haunting here, but in a manner that makes you appreciate a good spirit watching over you.  It’s the most unassuming track of this collection, and perhaps that’s why it’s so successful, or that it precedes the one misstep the band makes, that being the seven-minute sleeper, “The Lamb.”  Okay, so there are some musical elements here that are to most people’s liking, but the song could have been wrapped up much quicker, as it seemed to carry on perhaps beyond its welcome point.

All in all, Cult of Youth has done a great job with this self-titled effort, offering new fans a hint at what they’re all about, but leaving plenty of room for growth and directional jaunts in the future.  You have to appreciate a band that’s not dying to get tied down in one place, and with the diversity of this record, who knows where they’ll go, but I’m sure it will be good.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/Cult-Of-Youth-New-West.mp3]

Download: Cult Of Youth – New West [MP3]

New Music From The Figurines

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This feel good tune by The Figurines called “New Colors” has managed to brighten up what was an otherwise gloomy day.  The catchy track is set to appear on the upcoming self-titled LP from the band due out April 12th via Control Group.  Prior to that date, you can actually stream the entire new album on the Figurine’s bandcamp page as the joint was already released in Denmark.  I think I’ve found my dance hall hit of the spring.

[audio: https://austintownhall.com/wp-content/uploads/2011/02/Figurines-New-Colors.mp3]

Download: Figurines – New Colors [MP3]

Yuck – s/t

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Rating: ★★★★☆

Listening to Yuck time and time again makes it one of the easiest albums to review.  The band hs influences all across the alternative rock spectrum, and while the majority of those are from bands of yesteryear, their spin provides some refreshing energy into a sound we’re all familiar with at this point.

Everyone should immediately recognize that there is one drawback, and only one to the first album from Yuck: it’s got really obvious influences.  This isn’t necessarily a bad thing, however, as the band never go too far into mimicking their heroes, usually using various methods to further their own sonic pallate, which should be acceptable considering the band’s young age. Put that thought aside though from the get go because despite a perceived lack in originality, you’ll find everything you need in a great record: melodies, guitar hooks, edginess and anthem-like lyrics.

“Get Away” begins this self-titled affair with a bit of distorted guitar a la Dinosaur Jr., with a hint of Kim Deal playing bass beneath it.  It’s a reminder of innocence that we often associate with early purveyors of indie rock, doing what they can just to show off their musicianship and guarantee us a good time.  It’s been awhile since I’ve enjoyed listening to this sort of chugging, jagged guitar riffage.

Three tracks into Yuck and the band offers up a different spin with their tribute to the past.  This time around, they bring in the melodic moments of Teenage Fanclub, and they’re successful in precisely the same way the TF is; they bring a warm breeze into the guitar playing, which is odd considering the rain and fog associated with Great Britain.  But, the band also uses a nice little jaunt into a guitar solo to take the song to a different level, giving it more power than your normal tribute-style track.  You’ll find a similar stylistic presence on “Sunday,” as well, which is one of my faves here.

There are some different spins on this record though, one’s that show Yuck finding their own ground.  “Sucidie Policeman” comes off as a nice little ditty, but having a female foil to challenge the male vocals gives this song more depth overall.  It doesn’t read as just a stopping point in mid-album, rather it’s a place for the band to hang their own hat as they continue to flesh out their very own distinctive sound in the near future.  That also comes into play with the album’s original single, “Georgia.”  Perhaps it does fall into an more distorted version of C86 bands, but the important thing is that combining male/female vocals demonstrates the band’s willingness to mess with their own formula…and with tracks like all the ones on here, Yuck are sure to come across a horizon filled with gems for our ears.

The bottom line of it all is that Yuck is a band you should really pay close attention to for the time being.  Sure, songs like “Operation” definitely have a nod to Pavement, but who really cares?  I mean, are you going to tell me if you heard a record full of solid new tracks from your favorite nostalgic act that you’d be upset?  The bottom line is that despite all its nods to the past, Yuck is a record full of amazing songs that never bore you, that never seem dated.  It’s just a sign of great things to come, as there doesn’t seem to be many ways this band can go wrong.

[audio:https://austintownhall.com/wp-content/uploads/2010/10/Georgia-wavv-1.mp3]

Download: Yuck – Georgia [MP3]

James Blake – s/t

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Rating: ★☆☆☆☆

After releasing a successful EP in Klavierwerke, James Blake gained a spot on Pitchfork’s list of top fifty albums of 2010 and more recognition in the U.K for his distinct sound of electronic beats and dub-step. As a newcomer to this genre, I did not know what all it entitled, but after listening to this album, I can say that it is not the groundbreaking and delightful experience I thought it would be.

The first song, “Unluck,” feels like a complete and utter mess. Random sounds are mixed over an on-again/off-again beat to create for an electronic disaster, unmotivated and cacophonous.  Then James Blake begins to sing, and if it wasn’t already sounding disorganized, his auto-tuned voice adds just another element of contrast that makes it spin out of control even faster. For the three minutes of it’s duration, it feels like a headache inducing CD that is scratched and has been skipping, which is an interesting way (to say the least) to start an album out.

Thankfully on the next song Blake is more calculated, which is shown through the presence of a consistent beat through the whole song. Here on “Wilhelms Scream” is where I can see how this artist has been categorized into the dub-step genre: heavy bass and drum sound dominate the simplicity of the song, consistent with the genres’ description. Blake drops the heavy auto-tune from his smooth voice, so that the song is easier to listen to than the prior. While it is more soothing than that of the first song, it is still the same in repetitive nature. By the end of the song, it hasn’t really gone anywhere, and has been the monotonous repetition of words since the beginning.

After this song, I was ready to ease my ears and switch to something else that was more than electronic noises made by a computer, but I felt like I needed to be fair to Blake in making sure there were no redeeming qualities to this album before I deemed it an utter mess. Six songs in, I finally found a song that was worth listening to: “Limit to Your Love.” It begins with piano, and I couldn’t help but be driven in to the song on the sheer fact that it began with a physical instrument. Blake does revert to his dub-stepping for bits of the song, but it is tolerable in that it doesn’t become plain and boring as the other songs do. This euphoric sensation lasts through the next song, “Give Me My Month,” which sadly only lasts about two minutes. It is in these songs that I feel similarities to Bon Iver, and wish that Blake would have gone the route of only using small amounts of electronic fringe in his work, instead of relying on it to be the very backbone of his sound.

I’m not sure I understand this whole dub step/auto-tuned phenomenon. Is it the kind of genre where you have to be intoxicated or on some sort of substance that alters your perception? Perhaps I am missing something that is the key to enjoying this kind of music because this does not sound pleasurable to me, at all. If dub-step is your thing, then by all means, this album might rank five stars in your book.

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