Tag: self titled

Allah-Las – s/t

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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]

More New Jams from Plateaus

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We’ve been raving about Plateaus all summer long, and it looks like the rest of the world is finally catching up to our impeccable tastes (I’m looking at you P4K).  They’ve put out a slew of punk/power-pop 7″s recently, and they’re about ready to bust out their self-titled debut for Art Fag Recordings.  This new single is just what I love in the group; it’s short and sweet, and catchy as hell.  These are the sorts of songs I dreamed about as a kid, so it’s great to see that all our electronic progression hasn’t gotten in the way of good old rock n’ roll.

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

Download:Plateaus – Blackout [MP3]

Beautifully Drenched Pop from Meridians

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It took me a minute, or a few seconds rather, to get what Meridians were going for, with the song slowly inching away in ambient noise before Julie’s voice enters into the picture.  Seconds later and surely you’re sinking into the details of the song.  Her voice begins quietly, and the guitar seeps into the track.  It’s not long before her partner Trevor joins her, ever so slightly, leaving a slight contrasting echo in the far off distance. This track is featured on the group’s self-titled album, which just got a tape release from the beautiful people over at Cakes and Tapes.  You can click HERE for a video of the track.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/3-Meridians-MASTERED-Sunrise.mp3]

Download:Meridians – Sunrise [MP3]

Deep Time – Deep Time

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Rating: ★★★½☆

Working to cover the music scene in a town like Austin can sometimes be a bit much, and the sad truth is, you sometimes don’t give much attention to deserving bands.  Personally, I feel like all of Austin has largely ignored the continuous rise of Deep Time (the artists formerly known as Yellow Fever). Based on the music alone, their self-titled debut for Hardly Art Records, that should definitely change.

Immediately the duo of Jennifer Moore and Adam “not Pacman” Jones make their presence felt.  “Bermuda Triangle” features an opening angular guitar knife, before the rolling rhythm moves into the track.  Moore’s vocals loom large here, especially with her coy delivery of “oooohs.”  It’s a minimal sound for sure, with the band keeping things to the basics, but they add slight finishing touches here and there that bring the songs to life, such as on “Sgt. Sierra” where light keyboard/bell sounds come in and out of the track.

For the most part, this is the group’s formula, and while it’s not necessarily the most inventive out there, it’s a formula that functions well throughout the duration of Deep Time. Listening to a track like “Homebody” you can’t help but to fall for the way Jones rolls in with his drums, perfectly accenting Moore’s vocal delivery.  While her sharp vocal jabs are often more prominent, I really enjoy the warmth of her voice when it’s steady, as fans of her old band The Carrots can attest to I’m sure. One listen to the chorus here of “who cares if you never go home” and you’ll have as much appreciation for Deep Time as I do. There’s always this underlaying steadiness to the group’s songs that might go unnoticed, but maintaing a constant level of cool is difficult to do throughout an entire record, but they definitely accomplish that feat marvelously.

You can listen to “Gilligan,” which has sort of an abstract reference to the television show, and really appreciate the songwriting capabilities, particularly if you’re listening to the guitar work and the chorus.  These might be my favorite moments on the whole record itself, but that’s one man’s opinion.  And through it all, the band is still pushing themselves sonically; you’ll notice this when you listen to the album’s bookend track, “Horse.”  This is perhaps the most diverse track on the whole record, with changing paces, switching directions, and even a hint of a galloping horse…let’s hope the the band keeps pushing themselves like this.

At times, the duo walks the line of tedium, but they’re able to get beyond that on this self-titled effort by sheer talent alone.  Moore and Jones have always played well together, and changing their name to Deep Time isn’t going to change that.  All in all, it’s a pretty artful record, filled with ambition and creativity that any listener should be able to enjoy.

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

Download:Deep Time – Homebody [MP3]

Holograms – s/t

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Rating: ★★★★☆

When you get a record from Captured Tracks, you sort of know what you’re getting into, but Holograms, one of the newest bands on the label, are here to change your preconceived notions.  Their self-titled debut is dark, but it’s definitely fueled by a punk sensibility that provides listeners with an angst ridden record you can throw on to lift your spirits.

“Monolith” is the second longest track on the record, and it comes with a great sense of foreboding. A bass line slowly moves in just before you get the swirl of the angry guitar sound.  Hollow vocals dictate a more industrial feeling, and then they blast forward.  Energy, distortion, brash youthfulness; it’s all there. But, then “Chase My Mind” comes into play, giving more of a traditional pop sensibility to Holograms. Light synthesizers and a steady drumbeat provide little bits of a propulsive hook.  It’s the sort of track that energizes you; it encourages you to appreciate the vibrance that underlies a great deal of punk rock.

One of the things that differentiates this self-titled affair is its reliance upon a tradition that encourages anthemic choruses, no matter how angry and bitter the music may sound. Take a track like “ABC City” and you immediately feel the bass growing in your speakers, and as the band jettisons off, you’re tossed back to an era when frivolous pogoing was popular.  Even the lyrics have a tendency to be screamed at the top of your lungs, though the Swedish accents make it a touch more difficult to perfect your sing-a-long. Holograms even seem to have captured the swagger that I adored in my punk rock heroes growing up, which is sometimes lacking in modern acts.  “Fever,” for instance, is a pretty straight forward punk rock tune, but the vocal delivery reeks of cockiness (or brattiness if you like) and as you listen you can feel the grin creeping upon your face. Still, the band’s not just content to revel in the past.

A great deal of the record also has that industrial post-punk sound, which honestly revolves a great deal around the way the vocals are recorded.  They seem distant on a track like “Memories of Sweat” where the swirling guitars and pounding drums do the body of the song’s work.  There’s a primal element to the track, giving it a raw emotion that makes it endearing to listeners. Some might find that the recording of such tracks weakens the effort, but I think it’s quite the contrary, allowing the band’s songwriting and vibrant energy to push beyond the limits of your speakers.

Holograms is a record that warms your heart as you listen, especially if you consider yourself voiced in the annals of punk rock.  What makes it thoroughly enjoyable though is that it goes beyond some of the typical stereotypes, adding a darker element that often goes missing in modern renditions of the style.  Still, Holograms have given you hooks too, which will make any listener swoon; it makes for a great record that you’ll soon learn to love.

[audio:https://austintownhall.com/wp-content/uploads/2012/05/Chasing-My-Mind.mp3]

Download:Holograms – Chasing My Mind [MP3]

 

KIng Tuff – King Tuff

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Rating: ★★★½☆

In the brief bio on Sub Pop‘s web page for King Tuff, and his new self-titled album, it alludes to the fact that the entirety of the record is just rock n’ roll and that you can’t really listen to it with critical ears.  For what it’s worth, the bio is pretty spot on, as King Tuff is something you’re just going to have to experience for yourself.  But, I’ll do my best to point out some highlights.

While “Anthem” is the official song to kick off the record, the best served song to begin your listening experience might be “Alone & Stoned;” it’s a bit on the poppier side, which could ease you into the listening experience.  King Tuff‘s vocals have a slight resemblance to Nobunny or Hunx, and his musical style is definitely similar, though this track does show you a nice bit of polish–though there’s still that element of playfulness.  That light-hearted attitude is something that definitely benefits the record, coming through on other songs like “Keep Movin” and “Baby Just Break.”

But, while KT can come across as setting out to have fun, he’s also got a penchant to infuse a bit of traditional garage rock into his tunes, just as he does on the album’s standout track, “Bad Thing.”  It’s fueled with guitar solos and an angrier moment that’s not present anywhere else on the record.  Personally, I dig the way the he slows the chorus down just a bit before blasting off into “I’m a bad thing” one last time.  It’s the hit single for sure, but stick around as this thing is full of other noteworthy tracks.

There’s softer ballad-ish moment lurking here and there, such as “Swamp of Love.”  It’s built around a strummed guitar and a piano backbone, but it illustrates that King Tuff might not be as tough as the name indicates.  He’s got other moments that come earlier, although possibly too short to be completed ballads, like “Baby Just Break.”  I think these are the tracks that standout the most to me, as I expected the whole record to have an certain amount of ferocity like “Bad Thing,” but aside from album closer “Hit and Run” there’s really nothing that’s just a straight out rocker.  Personally, it fits better this way; you get peaks and valleys on the journey, all with different bits of enjoyment, depending on the listener and what he/she is looking for in King Tuff. 

While it may not need critical ears to listen to this self-titled record, most of the audience will surely find it successful because of its ability to keep you from finding the songs stale.  You can get a quick rocker or a ballad; you can find hints of garage rock; you basically can find gem after gem waiting for your own personal discovery, so it’s probably best to get on it now–go pick up this album from King Tuff.

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

Download:King Tuff – Bad Thing [MP3]

More New Music from Poor Moon

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It’s clearly a chilled out week on the Internet, as shown by us over here at ATH; this new track from Poor Moon is just another such example.  There’s an element of tropicalia/lounge act going on in this song; it’s got a similar touch to Jens Lekman‘s work of late.  After recently releasing an EP, the group is slated to unleash a self-titled full-length via Sub Pop on August 28th, and I’m hoping it all shapes up to sound just like this here.  Something about summertime and warm weather makes this song really come alive down here in Texas, or it’s just a great song all around.  I’ll take it either way.

[audio:https://austintownhall.com/wp-content/uploads/2012/05/Poor-Moon-Holiday.mp3]

Download:Poor Moon – Holiday [MP3]

Royal Headache – S/T

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Rating: ★★★★½

Lo-fi recordings and accompanying jangle pop rock have been the rage for sometime, and that’s all well and good, but sometimes you just want to have a little bit of a twist on tried-and-true fashions. When you head to your local record store, and you should do so immediately, to pick up the self-titled record from Royal Headache you’ll find exactly what you’ve need. This album’s furious and fun, but just different enough to make the group stand out among the masses.

Side A of this excellent LP opens just as you would expect from a band with garage leanings, furiously paced by the gritty guitar sound.  But, then enters frontman Shogun, using his voice to take you back to the nostalgic soulful recordings of the 50s/60s.  Perhaps you’ll hear bits of angular post-rock similar to Cloud Nothings, but the vocals take you somewhere else entirely.  Oddly, the powerful dynamic between Shogun and the rest of the band fits the mood of Royal Headache perfectly.  From start to finish, Side A is a winning adventure of six incredible tracks, with the frenetic “Girls” remaining my personal favorite.  That being said, the exuberance isn’t always a pummeling in-your-face affair as evidenced by the somewhat slowly paced “Kinds of Love.” The fact that there aren’t any lyrics might come as a surprise after the first five tracks, but it’s the perfect cleansing before you flip the record on its backside.

If you fell for Side A then Side B is absolutely going reaffirm that Royal Headache  are your new favorite band.  “Down the Lane” definitely fits into the modern musical spectrum though it has a tendency to sound dated–in an absolutely good way.  At times, Shogun even sounds a bit like Robert Pollard stretching his vocals to the maximum; it’s perhaps one of the most emotionally captivating songs on the entire record.  Plus, you don’t want to miss the closer, “Pity,” another track that seems to have ingrained itself in my mind.  I definitely enjoy the steadiness in the vocals on this number, leaving you with the sentiment that the group has evolved with regards to the conceptual aspect of the record.

Nowadays it seems that a lot of people can record in their bedroom or make an album of lo-fi tracks that quickly burst into a huge success, but you’re not going to find anything at all like Royal Headache.  That alone is one reason that you need to get your hands on this LP, but you couple that with the fact that there’s not a single track on this record that you could skip, and you have a winning group of songs that you might not ever escape.  Each song is infectious, whether you base that on the inherent hooks or Shogun’s performance; you’re not going to want to listen to anything else for some time to come.  Yeah, I said it; it really is that good.

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

Download:Royal Headache – Girls [MP3]

New(ish) Jam from The Tough Shits

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Please don’t let the name here mislead you, these dudes aren’t nearly as tough as the name would indicate! That being said, you should listen to them to figure out precisely why, and if you do, you’ll be rewarded with a solid bouncy track from The Tough Shits.  The group recently released their self-titled debut on Burger Records; it’s full of bouncy janglers and pop ditties with just a hint of a “tough” edge.  These are the sort of tracks I can 100% stand beind, so if you need something fun and spirited, then you get behind these guys right now!

[audio:https://austintownhall.com/wp-content/uploads/2012/05/2_Birds_Dont_Get_Tired_of_Flying.mp3]

Download: The Tough Shits – Birds (Don’t Get Tired of Flying) [MP3]

 

More New Tunes from Royal Headache

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A little less than a month ago I brought you THIS sweet new jam from Royal Headache, and now we’ve got another awesome number to toss your way.  While their first number had a bit more ferociousness, this new track has a bit more of a relaxed feeling to it; still, it offers up a great bit of soul from vocalist, Shogun, which is just another reason people are so excited for this group. You’ll find yourself loving the self-titled debut when it comes out May 8th, courtesy of What’s Your Rupture.  And, if you love it like I do, then you’ll have the opportunity to catch the band as they hit the States this summer (including Austin dates!).

[audio:https://austintownhall.com/wp-content/uploads/2012/03/royal-headache-down-the-lane.mp3]

Download: Royal Headache – Down the Lane

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