Tag: the strokes

Nickel Eye – The Time of the Assassins

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Rating: ★★★☆☆

The last several months have brought the music faithful three different Strokes side-projects, the newest being from bassist Nikolai Fraiture, aptly titled Nickel Eye.  All this output makes one wonder what could have been accomplished had all the players remained as prolific as they seem to be.  But, this one leaves some questions for listeners.

Opening the album, it’s clear that Niklai holds his instrument of choice dear to his heart, as the bass-work is precisely what he provided listeners with when he took to the stage with his mates.

Then comes “Back From Exile,” the first appearance of an acoustic guitar.  It’s not that the songs aren’t enjoyable, as they surely are just that, but you start to go elsewhere with the music as you listen.  His voice sounds oddly like his band-mate’s, which leads one to wonder precisely what Julian thinks of his friends finding replacements for his vocal styling. Still, the second song featuring acoustic guitar, “Fountain Avenue” definitely is worth a listen, possibly over and over again.

Enter “Dying Star,” a possible suggestion at where The Strokes could have gone, or were going, or are going for that matter.  It’s winding guitars and hurried sound seemingly fit the mold of that other band.  It’s at this point that it all begins to slowly make sense.  “Brandy of the Damned” has a similar bounce to that of Fab’s band, Little Joy, but still definitely has a quality unmistakably similar to the central band.  That is where you begin to figure it out.

Nikolai seems to have a lot of difficulty moving away entirely from the sound he helped to establish. Whereas you feel like Albert Hammond and Little Joy have both established themselves, distancing their sound in certain ways away from their alma mater, Nikolai flirts with walking away, but never quite goes the distance here. He can’t seem to eclipse the huge shadow that looms large over his career.

That being said, the last few songs, “Another Sunny Afternoon” and “Hey, Thats No Way to Say Goodbye” both push those boundaries just a little bit, in a folkier manner.  It’s at the end of the album, which makes it come off as an afterthought, though you’ll surely enjoy “Another Sunny Afternoon.”

While listening to this album, you will definitely find a lot of it’s appeal, as there are many songs worthy of making your favorite mix-tape.  Yet, this album, is not one where you ask for more from Nickel Eye.  It’s pleasant and enjoyable, but where you wish Little Joy had another record, here your okay with just a few listens.

[audio:https://austintownhall.com/wp-content/uploads/2009/01/07-brandy-of-the-damned.mp3]

Download: Nickel Eye – Brandy of the Damned [MP3]

Japanese Motors – s/t

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Rating: ★★★★☆

The purveyors of cool over at Vice have brought us yet another exciting new band, except this one seems oddly familiar. Japanese Motors is a four-piece band from Costa Mesa, California who have just released their self-titled album. Immediate comparisons will be made, but break on through the banal qualities for an ultimately rewarding listen.

Let’s get this out of the way; Japanese Motors are coated in the spectral essence of The Strokes of old. Singer, Alex Knost, has precisely the same hollow echo of a voice that Julian Casablancas has, which really isn’t a knock on his singing voice. It fits the music appropriately. However, the fact that they don’t use dueling guitars on every single song, on most songs in fact, makes their sound entirely different than their New York counterpart.

Opening track, “Single Fins and Safety Pins,” creates an entirely different vibe than The Strokes; choosing to bask in the glory of the California sun rather than worry about the plight of upper-middle class elitists in New York City. You can hear the sound of the surf flowing out of the guitar-work, and the rythm of the beach trodding along in the song. Even here, the commonalities with other select groups are not yet noticed.

Then “Regrets A Paradise” comes walking along the shore, and Knost embraces his inner Casablancas, although videoes of this frontman show him having a bit more fun; he dances rather than using his mic stand to hold him up. Vocal stylings are similar throughout the rest of the album, especially in songs like “Coors Lite.” The similiarities don’t detract from the enjoyment of listening to such songs, for we all long for the sounds of a few years back, when everything seemed fresh and new. But, even the bass lines sound really close.

There is another, more Californian, influence apparent in a lot of these songs, and it might be one more close to the hearts of Japanese Motors. Listening to a song like “Better Trends” brings back memories of “Take the Skinheads Bowling” by Camper Van Beethoven, the Californian oddity commodity. Both bands had a tendency for catchy songs, worthy of listening for all audiences.

Now, those at Vice will tell you of their tendency to throw outrageous parties that cater to the homeless and surfers, the debutantes and the hipsters; this definitely has nothing to do with this band, nor their ability to write catchy lo-fi pop ditties with a surf twist. Listen to the band for their music, no matter where the influence.

Little Joy – s/t

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Rating: ★★★★☆

Most will recognize the percussionist of Little Joy, the newest offshoot made up of Strokes drummer Fab Moretti. Toss in Rodrigo Amarante and Binki Shapiro, and you have the line-up for LA based Little Joy.

Those in search of the upbeat pop specialties that Albert Hammond has thrown our way will surely not find what you are looking for in these songs, but instead you will find an entirely different genre, what one will call beach-influences crooner tunes. It would suffice to say that this group has created eleven perfect lounge tracks for your favorite smoky dive bar.

“The Next Time Around” is the album’s opener, which contributes the first of many island infused tracks. Guitars and percussion lie in the back of the song, as Amarante croons, not entirely like Julian Casablancas, but not too far off. It’s easy to see why Fab chose to work with this fellow; in the middle of the track there is an influx of Portuguese lyrics, which add to the Latin appeal of the album.

Listening to this album one should recall quiet moments spent on beaches with their friends, much like the members of Team Zissou. In fact, if you recall the soundtrack to the Wes Anderson movie Life Aquatic, you will find that this album is very reminiscent of the guitar work done by Seu Jorge, although the majority of the music here is in English; none of the songs are Bowie covers either.

“No One’s Better Sake” is the fourth track on the album, and it’s one that has the largest resemblance to The Strokes. The progression sounds strikingly similar to a few of the songs off Room on Fire, but a little organ work gives it an entirely different feel. Once again, Amarante croons in that very familiar tone. Even the progression of the song sounds too familiar to dismiss as mere coincidence.

Be sure to listen to “Don’t Watch Me Dancing.” This song features the female vocals from Binki Shapiro, and it’s one of those perfect little songs that creeps into your head as the day passes into the by and by. It’s a mellow little ditty, but most will appreciate the emotive number, possibly one of the strongest tracks on the album.

One thing missing from this album is a substantial pace. The lack of pace, and the organization of the songs on the album makes it a tad difficult to immerse yourself completely in the album. Even good beach parties have a few rollicking moments that move the crowd; this album seems to lack that pace and emotion entirely aside from one or two brief moments.

At the end of the day, listeners will have a decent debut album from Little Joy to attach themselves to for evening listening. If anything, this album is the perfect conversation starter as your friends try to figure out why the songs sound so familiar, yet so much like their last trip to Cancun. You’ll enjoy the album too; it just won’t make your top albums of the year list.

Deerhunter – Microcastle

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Rating: ★★★★☆

For most of the fans of Deerhunter, this album seems to have been floating around the world in some form or another, so many of you have already gotten to know Microcastle, the band’s sophomore release.  Those of you that haven’t listened to it yet will definitely need to get your hands on this album.

Admittedly, the band has left behind a little bit of the atmospherics that were present in Cryptograms, instead pushing forward with a more immediate sound.  Mr. Cox has even gone so far as to say that he didn’t mind if the band took on a sort of Strokes‘ sound, which, it really doesn’t.  You can only go so far before you aren’t the same band, but Deerhunter sound every bit themselves here.

Sure, the songs definitely ascribe to a little bit of the pop, but they surround each song in their very structured fuzziness, clouding every inch of tape with something worthwhile for the listener.  It’s as if they chose to completely focus on every song, providing all of them with their own personality so that in turn, they resonate individually with the listener.  Slowly, the band builds each song, as if they were putting together tiny bricks in order to construct microcastles.

A lot of the songs, however, are reminiscent of the sounds bands like Grizzly Bear or Gravenhurst.  Gentle vocals are paced between intricate musicianship, and then walled in with extemporaneous sound, creating the perfect song within a soundscape.  It’s becoming a bit over-done, but you won’t find any who do it much better than the Georgians from Deerhunter.  But, they also jump far away from this in songs like “Cover Me Slowly” and “Nothing Ever Happened,” which may be more in the way of what future albums might sound like.

For now, the band seems to be happily stuck between their own walls of sound and their desire for a less eclectic sound.  They do seem at their best when they push the pace a bit, allowing themselves a touch of greatness, but each time they resume to other formats, they fall back into something more commonplace in the modern indie music market.  Either way, Deerhunter have created another album that is sure to rise to the top of many people’s year end lists; as it should.

Little Joy vs. Los Hermanos

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I’m all kinds of into audience participation, so I thought I would throw one more your way. Today, we will debate over whether the singer for Fabrizio Moretti’s (of The Strokes fame) newest project, Little Joy, is in fact better suited to front a band backed by Fab or by his old band, Los Hermanos. The kids love Little Joy, and Devandra Banhart produced the album, but something about the bossanova sounds of Los Hermanos are really working for me today. You make the call.

[audio:https://austintownhall.com/wp-content/uploads/2008/09/little_joy_no_ones_better_sake.mp3]

Download: Little Joy – No Ones Better Sake [MP3]

[audio:https://austintownhall.com/wp-content/uploads/2008/09/09-09-condicional.mp3]

Download: Los Hermanos – Condicional [MP3]

Albert Hammond Jr. – Como te Llama

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Rating: ★★★½☆

When Albert Hammond Jr. released his first record, I was completely skeptical. Could the guitar player step outside of his work with The Strokes and go it alone, successfully? The answer was an astonishing yes! That record filled my ears with gem after gem of sunny pop tunes. The new question was could he maintain that on his newest effort? Could he make me question the genius behind his other band once again?

Yes and no.

The opening track, “Bargain of a Century” comes in with swelling guitars, and what sounds like some bass lines stolen from the closet of his old band, added with a flare of piano. The vocal effects are all very reminiscent of his last effort, yet also quite like his pal Julian Casablancas. This song sets the pace for the rest of the record, demonstrating that at his best, Albert can write a really infectious tune.

The next two songs are good enough, but I go through them time and time again without really holding on to any redeemable quality. This isn’t to say that these are bad songs, for surely someone will enjoy them, but I just kind of found them as filler, holding time before we get to the next track.

Now, “GfC,” the fourth track is the single from this album, or the first one at least, and deservedly so. Every time I listen to this track, I immediately want to push repeat. A song like this shows just what a great songwriter Albert actually is; he’s a forced to be reckoned with more often than not. My head bobs, the wind blows in my hair, and all I can do is grin like a child. Beautiful.

Once again you find yourself at an impasse. The next few songs don’t pack the punch you’ve grown used to by this point. He seems to have missed a step with these songs, but I urge you to proceed through these songs with open ears because the chorus on “Rocket” is a superb moment in a fairly subpar song, which I suppose makes this song wonderful in its own way. Chills creep down my skin each time those guitars come blasting in to my speakers.

Hidden in those tracks is “You Won’t Be Fooled by This,” which is a track that most closely resembles his work in that other band . It’s a classic song, and it makes me wonder if Albert is just better off to go it alone. Really.

“Spooky Couch,” is an awful song. It is a seven minute instrumental tune that adds nothing to the album. I am not sure why its on here. Please skip this song.

Albert steps up the pace again after that yawner. He proceeds through the next few tracks with fervor, and possibly too much. A little more focus would have made those songs as memorable as the earlier tracks on this album.

And then we come to a close ladies and gentlemen with “Feed Me Jack…” which is as close to a classic ballad as this fellow has come. It might not be the best ballad of all time, but I like it for the fact that he went another direction entirely, using this song to display just how strong his voice is. It’s lacking lyrically, but a good solid step.

You see, Albert Hammond can write some amazing songs. He doesn’t need that other band to establish his credibility, but the weaknesses of this record hint that if there were a few more members battling against his ideas, then we might just have another great record in our future. All in all, Albert stands on his own, continuing to show us that he is force to be reckoned with in the pop world; all on his own. Dig it.

Below is the single we posted a long long time ago “GFC”:

[audio:https://austintownhall.com/wp-content/uploads/2008/07/04-gfc.mp3]

Download: gfc.mp3

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