Despite living so close to Austin since 2002, I’m ashamed to admit that this was my first South by Southwest. But now that I’m here, I had no excuse. So I forked over the cash for a wristband, which came in handy, but is by no means necessary – there’s plenty of free/unofficial stuff to keep you busy all weekend. I also learned that your bike is your best friend, you should plan ahead but be flexible, and when you have to decide between the Counting Crows show that all your peeps are going to versus flying solo to see a band none of your friends have heard of, always go with the latter. That’s what I did, and here’s why it was awesome.
Sunday March 11 – The Precursor
10pm: Delta Spirit
Nevermind that this show was officially part of the SXSW’s Interactive Week. A buddy of mine has been raving about Delta Spirit for a while now, and after hearing frontman Matt Vasquez’s soulful contribution to the Middle Brother album, I was definitely intrigued. The band put on an energetic show at Maggie Mae’s, mixing the folk rock of past albums with the indie rock of their new self-titled release. Now I can’t wait to go back through their catalog to hear the studio version of “People C’mon” and others.
Thursday, March 14 – A Slow (in a good way) Start
11:15pm: Sheepdogs
Travelling for work put a bit of a damper in my schedule, but I made it back in time kickoff Music Week late Thursday night. Not wanting to fight the downtown crowds just yet, I opted for the eastside (Kenny Dorham’s Backyard Park) to see these guys on a whim after watching a SXSW video of “Laid Back.” They’ve got a great sound that bridges contemporary rock with classic rock, all the while maintaining a chill vibe. Their vocal harmonies and guitar chops prove that Canada does have something to offer besides universal healthcare and winter.
Friday, March 15 – Blues, Rock, Celebrity Bull and Young Promise
5pm: Gary Clark Jr.
I clocked out a tad early to walk on over to Waterloo Records to begin the weekend revelry with some good ole Texas blues. In an age of tightly constructed 3-minute songs, it’s refreshing to watch a band that can fill a 45-minute set with just 5 tracks. Gary Clark Jr. and company did just that, giving each song the full band jam treatment. As always, Gary shredded it on guitar. At one point he did an amazing effect that made me look for a DJ hiding somewhere on stage scratching vinyls. Get ready, kids – this dude is about to blow up.
7pm: Bass Drum of Death
After catching only 5 minutes of Alabama Shakes – who looked like they’d put on a killer show – I hauled ass via bike over to try to make it to Bass Drum of Death at Peckerheads. I got there just in time to catch their 30-minute set, which was exactly the adrenaline-fueled, head-banging, sweat-inducing garage/doowop I was expecting. Even though frontman John Barrett sings with his hair in his face the whole time, their music is so damn engaging that you don’t even care.
Bass Drum of Death performing “Leaves” — You can’t see me, but I was there!
I then headed to the Stage at Sixth to see PUJOL play, but got turned away because they had reached capacity and were only allowing badgeholders in. WTF, I thought. No way this is happening for PUJOL. Then I peaked inside and saw John C. Reilly on stage. Now, I’m all for actors cross over into music, but I was pretty pissed that Dewey Cox got in between me and my PUJOL. (The last part of that sentence sounds terrible when read aloud.) I know the dude has a voice, but shouldn’t you have to record an album before people start lining up in droves to see you, or are we so celebrity-obsessed that we draw a crowd just to hear a famous face sing? I digress.
1am: Howler
Leery of not getting into the next show, I showed up an hour and a half early to Latitude 30 got to catch the tail end of Kindness, a nice funky dance band, and Big Deal, a guy/girl duo that’s so chill they almost put me to sleep. Finally, Howler took the stage. Frontman/boy Jordan Gatesmith began by nervously telling the audience how terrified he was of SXSW. Then, to my surprise, the band played one of the tightest sets I’ve ever seen. Drummer Brent Mayes pounded away on the drums with impressive skill, and the rest of Howler kept up in supreme fashion. Glad to see these kids had lived up to all the hype, I biked home and called it a night.
Saturday, March 16: All-Out Rock-Out
2pm: J Roddy Walston and the Business
If there’s one band I recommend seeing, it’s these dudes. They don’t have an off switch – or even a low switch – so they just bring full-on rock’n’roll with no holds barred. I was ecstatic that even though it was just 2 in the afternoon, they still went balls to the wall. J Roddy bounced all over his piano bench in his signature style, and the rest of the band brought it hard to Hotel Vegas with scorching guitars and pulsing drums. The band even previewed a handful of new tracks from their upcoming album, which sounds like it will trump the sophomore slump. Their live show aside, J Roddy Walston & the Business are hands-down the best straight-up rock’n’roll band out there today.
5pm: Bass Drum of Death – Again
Sorry; I can’t get enough of these guys. This time around I got much closer to the stage, where I was thankful to find a handful of kids rocking out. At a too-cool-for-school place like SXSW where some people show little-to-zero enthusiasm at shows, it was nice to see these fools not giving a s***. (After all, when you’re at a concert, aren’t you supposed to dance like no one is watching? Yes, yes you are.) Bass Drum of Death put on another fiery set that was so great the audience at Beerland demanded an encore. The band obliged, but the sound guy had already cut John Barrett’s microphone, so without missing a beat and in true the-show-must-go-on style, they jammed through the entire last song with no vocals. F****** rock’n’roll!
Sidenote: Next, I was hoping to see Andrew W.K. play I Get Wet in its entirety at Emo’s East, but his start time got pushed so late that I had to cut his show from my schedule or else I wouldn’t make it to Sleigh Bells. Bummer.
9pm: Sleigh Bells
After hearing reports that this pair had struggled with replicating their sound on the road – which is no surprise considering the complexity and volume of their albums – I kept my expectations to a very low minimum, only to be completely blown away. Derek Miller and another fellow shredder each had 6 giant Marshall amps, creating a wall of ear-piercing electric guitar behind them. Vocalist Alexis Krauss brought plenty of rock’n’roll energy to Moody Theater, sending the audience into a frenzy right from the start. They played all the classics from Treats and the new hits from Reign of Terror before Alexis ended the show in grand style, crowdsurfing atop the audience for most of their last song.
All in all, it was an freakin’ awesome first SXSW experience. I got to see some of my favorite bands, and I got introduced to a few new ones by chance and word of mouth. The weather was perfect, the food was free, and the beer was freer. I can’t wait for next year, when hopefully each of these bands has a new album out that we’ve reviewed for your reading pleasure.
Sounds Like:
Todd tells tales of the everyman’s modern-economic-downturn woes over a blend of alt-country and blues/rock
“In the Beginning,” a solid opening track in sound and title, starts with an upbeat prelude, marveling at the serenity of community at the earliest stages of mankind’s social evolution. An abrupt blues bass riff intercedes, finding two characters realizing someone else has more than them; miffed, they plot mankind’s first redistribution of wealth. The story continues, as the rich man shares the secret of his wealth in exchange for his life; piety and spiritual devotion. Snider cleverly shifts the theme into a present context at the very end: “and with that we roll into to the future, and ain’t it a son bitch / to think that we would still need religion to keep the poor from killing the rich.”
Wailing harmonica and a Tom Petty-ish guitar riff kick off “New York Banker,” which tells of the woes of a Southern high-school teacher who reaches retirement only to find that the teachers’ pension fund is broke on account of a poor investment in “Abacus Farms.” Todd’s portrayal of the “New York Banker” resembles a modern-day carpetbagger, profiting off the misfortune of the naive investor. The sense of anger is palpable in the chorus, lamenting “good things happen to bad people.”
Key Tracks:
In the Beginning, New York Banker, West Nashville Grand Ballroom Gown, The Very Last Time, In Between Jobs, Too Soon to Tell, The Big Finish
“West Nashville Grand Ballroom Dress” begins a trio of acoustic-guitar reliant tunes. I was surprised when reading Todd Snider’s website to find this one was actually written by Jimmy Buffet. Despite this, “West Nashville Grand Ballroom Dress” is a solid number, boasting incredibly catchy vocal melodies (aided by Shrines) and a strong acoustic-guitar riff. “Precious Little Miracles” finds Todd softly mourning today’s youth over a droopy yet playful acoustic riff. Todd portrays youths as vicious, mindless killers: “they drive around looking for people to kill / not even for the money but rather for the thrill / kids they can be a handful.” An upbeat acoustic guitar riff and weepy violin open “The Very Last Time,” which tells the tale of a scorned lover who promises himself to never again fall for the one who keeps breaking his heart. This one could sound like a love song, until you catch the lyrics.
Agnostic Hymns & Stoner Fables’ tone takes a turn for the dark as a dirty, blues guitar riff kicks off “In Between Jobs.” The story follows the downward spiral of a man out of work. The character starts off begging for coin while singing the blues, building intensity to the point where he says, “let’s keep me from killing him, taking his [stuff].” A swift, softly distorted electric-guitar riff, violin accents, and drums carry the upbeat, “Brenda,” a love song about Mick Jagger and Keith Richards (check out his website where Todd describes his affection for the Rolling Stones).
Best Lyric:
“When the housing market crashed our retirement did too / Everybody said there was nothing we could do / That banker walked off with a million or two / I’m still teaching a the high school / Good things happen to bad people” - “New York Banker”
“Too Soon to Tell” kicks off a trio of brooding, bluesy tunes. Guitars, drums, and an eerie violin create a dark backdrop, as “Too Soon to Tell” follows a character out of work, luck, and patience. Snider’s strong lyrics delve deep into the character’s psyche, finding a number of poignant, hard-hitting lines throughout. Brush hits on a snare drum and a stand-up bass line provide the aching beat for “Digger Dave’s Crazy Woman Blues,” a tale of an Alaska man who spends a year and a half in the clink after a young woman leaves him holding the murder weapon. “The Big Finish,” the closing track on Agnostic Hymns & Stoner Fables, alternates between a stiff, blues guitar riff and gloomy vocals during verses, to choruses of heavily strummed, classic-rock guitar riffs, organs, and a melody of “ooh-ooh-ohs.”
Overall Rating:
Todd Snider emphatically reinforces his songwriting credibility on Agnostic Hymns & Stoner Fables. Overall I really enjoyed this album. Snider’s lyrics are top-notch as always. He and the other musicians also do a nice job capturing the emotion of each story. This album ranges from blues/rock to soft, acoustic numbers, and is solid lyrically from top to bottom. Agnostic Hymns & Stoner Fables features more electric guitars than Todd’s previous work, but the gritty sound of the distorted guitars adds to the overall dark tone of the album. I highly recommend this to anyone, rich or poor.
Fanfarlo is a European band that’s making the sounds of the 80s relevant again by mixing them up with modern-day chamber pop. Swedish musician Simon Balthazar started the London-based band in 2005, and today he and Amos Memon, Cathy Lucas, Leon Beckenham and Justin Finch make up its members. Their first album, 2009’s Reservoir got plenty of nods from critics and fans alike, and now Rooms Filled with Light shines on their sparkling-but-sparse, contemplative-yet-charming tunes with brightness in all directions.
Sounds Like:
The Cure + Arcade Fire + Mother Falcon
“Replicate” opens the album with a slow build, indicative of one of Fanfarlo’s strong suits. With Arcade-Fire-like vocals, Belthazar gets all philosophic over staccato violins, whirring keys, weaving clarinet and horse-clopping percussion. The instrumentation builds tension as the song wrestles with its ultimate question: “How can we extricate ourselves enough / or fight something that’s part of us?” Deep stuff, but the orchestration does a great job of not going too dark.
“Deconstruction” sounds like classic The Cure before it does exactly what its title suggests. The tune jams sugary synth-and-bass driven music with a head-in-the-clouds vibe that later transforms into a dreamy soundscape. But instead of lovesick melodrama, the track’s artsy call to arms advocates letting it all go to make it all make sense: “Where’s the focus and direction? / These currents are dragging us away / Aimless and numb / Just drift along a little while.” Following its theme, the song first shifts gears to a German-spoken word bridge and then to a slow piano-and-synth closeout.
“Lenslife” reminds us that vacation pics are nice, but they’re nowhere near as enjoyable being there. Appropriately, the track exudes an islandy feel, thanks to steel drums, Carribean horns, groovy bass and a nautical bounce. A simple keyboard hook cruises through the song – with the occasional violin and synth riding in its wake – and eventually big brass and pulsing percussion come crashing in. Lyrics sing of all the ways in which we try to catalog our journeys, “Just to let it get away / And one day say that I lived it all / And one day say that I remember it.”
Music video for “Shiny Things”
“Shiny Things” starts with just a synth. Balthazar’s voice croons in, followed by driving drums, echoing keys, waning guitar and smooth bass lines. But don’t let the song’s carefree catchiness fool you – its really poking fun at the happy-go-lucky mentality of sacrificing our planet for material possessions. Take this tongue-in-cheek lyric for example: “Let’s not worry about going extinct / We’ll be preserved on a shelf somewhere.” Toward the end, the track’s drum-heavy bridge takes on an intentionally left-right-left feel as a subtle caution against mindlessly marching toward ones own death.
And now for something completely different, “Tunguska” takes the album in a sexy direction. Building on the islandy feel of earlier tracks, this one takes it to new romantic heights. It sets the mood early with a horny intro – lame pun intended – and keeps it going with staccato, harmonious vocals and a hip-hop drum beat. The lyrics however, send more of a friendly vibe than a Business Time one. “We have waited for you / To come to take a side / We’re on your side, Tunguska / We’re by your side, Tunguska.”
On “Everything Turns,” Fanfarlo get its instrumental on. The track opens with just two driving piano lines, one dancing at the high end and the other marching down the low end. A whirring synth and light shaker add some tension, until the monotony briefly breaks about halfway through when the piano changes course and an acoustic guitar joins in. Save for the electronic touches, this one reminds me of something you’d hear on a Wes Anderson movie soundtrack. Short and sweet.
Key Tracks:
Deconstruction, Shiny Things, Tunguska, Tightrope, Feathers
“Tightrope” combines a rolling bass line, a piano-and-guitar hook and ascending harp strums to get things upbeat and jumpy. If Arcade Fire played in a tiny bar inside your head, this is what it would sound like. The break gets really dreamy with a double-beat drum, whirling keys and a woozy trumpet line. “Just let it go / Just let it go / Just walk in a straight line / Just let it go,” Balthazar wails, echoing a laissez-faire sentiment, similar to that of Deconstruction and Lenslife. Finally, a creepy whistle carries the song home.
“Feathers” opens with an airtight beat, stabbing synths and wistful xylophone tickles. Gentle guitar riffs and a steel drum hook play between verses of breathy, tense, boy-and-girl vocals. All these elements crescendo, along with violin shrieks, forming the tune’s free-wheeling chorus: “It is the singer and the river is the siren on the the rock before the time you wakep feeling nothing at all.” This process repeats, and Fanfarlo pulls off another great bridge with a percussion-and-vocals break. Jolting pianos come in before the opening instruments return to close the song.
“Bones” mellows out, man. A toy piano hook and barely-there bass start the flow. Balthazar’s chilling voice croons in, and echoing, affected snare hits – a la Paul Simon and Phil Collins – build the palpable tension: “It’s in the hands / It’s where the blood goes / Wait for the time / Inspiration will come.” The ballad’s xylophone hook carries throughout, joined halfway through by a pining violin and wailing back-up vocals. Its lonely, barren feel reminds me of early Snow Patrol.
Best Lyric:
“How the houses leave so precariously / When the pavements start to crack” – “A Flood”
“Dig” is what it would sound like if they’d had chamber pop back in the 80s. A bouncy synth, crazy violin hits and drawn-out vocals make you wanna move yo feet – almost obnoxiously so. Keys come rushing in, and a cuckoo-clock hook works its way into the song and it into your head. “The moment is here / And the pressure is very real / So just cut a little hole / And let it all equalize,” Balthazar croons over bassy piano and operatic back-up vocals, as the driving, inspirational track makes its way from pop gem to cacophonous symphony.
But “A Flood” slows all that raucous right down. Over a dramatic piano and simple drums, defeated vocals long for the one they love: “Come the weekend we’ll get lost / Just in time to get caught in the rain.” A slow-strummed guitar is accompanied by random-but-fitting effects that wade through the track, making you feel surrounded by swampland, before washing you back to the shore of Coldplay-ish vocals.
“Everything Resolves” serves more as a bookend to the album than a final track. While “A Flood” brought some calm closure to Rooms Filled with Light, this :38 ending simply uses pianos and strings to announce “The End,” like a church bell tolls the hour. It doesn’t add much, but it does reflect Fanfarlo’s penchant for dramatic, classical style.
Overall Rating:
Rooms Filled with Light plays like a well-crafted concept album, seamlessly shifting gears from one mini pop symphony to the next, while effortlessly spanning the emotional spectrum. Fanfarlo is also careful never to reveal too much at once, preferring to move through the shadows at just the right pace. The result is an enchanting, intriguing album in which you hear something new each time. Like eyes adjusting to light, slowly but surely all the finer details reveal themselves, and your ears are illuminated with sound.
After delivering a fist to music listeners’ eardrums with 2010’s debut Treats, Sleigh Bells follows up with Reign of Terror. The Brooklyn duo of vocalist Alexis Krauss and guitarist/producer Derek Miller created a unique sound on its debut, combining huge metal guitars with Krauss’s airy, effortless-sounding vocals. Miller pushed the sound to the envelope, building to speaker-shredding peaks. With this in mind, I couldn’t help but wonder if the album title was any indication of what was in store for my ears…
Sounds Like:
Sleigh Bells do not know any volume level less than 10
The sound of an eager crowd opens “True Shred Guitar,” Reign of Terror’s lead track. A simulated-live guitar solo over handclaps serves as a prelude to the machine-gun assault guitar riff that ensues. An 80s heavy-metal riff and booming drums let you know that Sleigh Bells has not turned down the volume on their sophomore release, and Krauss’s distorted vocals and lyrics add to the feisty nature of the tune. A huge, halting buzz-saw guitar riff over rapid bass beats are the basis for the album’s first single, “Born to Lose.” Miller lets loose for the second half of the song, as different hooks emerge, joining guitars and Krauss’s chorus of eerie call and group-yell response.
Key Tracks:
Born to Lose, Crush, End of the Line, Comeback Kid, Road to Hell, You Lost Me
A swift beat of booming stomps and handclaps drive “Crush.” Miller adds a crisp overdrive guitar riff and synth hook, as Krauss’s sultry voice takes center stage. Krauss’s vocals take on various forms, ranging from a slim three-part harmony to a group yell at times. Her lyrics (“I gotta crush on / I gotta crush you now”) coupled with the stomp and handclaps are reminiscent of a sinister “Hey Mickey.” The beat slows down on the “End of the Line.” Another dark song, the vocals are accompanied by a solid hook over the choruses, and subtle guitars play throughout, distorted and otherwise.
Music video for “Comeback Kid”
Earthshaking guitars and drums blare away while Krauss’s vocals float above on “Leader of the Pack.” The contrast between Krauss’s soft vocals and the bone-crunching guitar-and-drum combo is on full display. The guitar riff evolves from the dark, heavy chords to a harmonic solo over the bridge. Similarly, Krauss’s crisp melodies on “Comeback Kid” are joined by murky keys or contrastingly distorted guitar riff. Screaming guitars and blasting drums drive “Demons,” a dizzying onslaught of sound.
Best Lyric:
“Go away for a while if you can / you can be my only friend / when you’re tied to the bed” - “Road to Hell”
Heavily distorted palm-muted guitar chords, bleak bass-drum kicks, Pixies-ish keys, and Krauss’s eerie hopelessly-hopeful vocals and lyrics paint a picture of bliss during a nuclear holocaust on “Road to Hell.” Over this landscape, Krauss croons “don’t run from me baby, just go away from me, road to hell.” Fuzzy guitar arpeggios drive “You Lost Me,” where Krauss sings a sad tale of two teenagers that attempt suicide. Harmonic guitars, synths and chimes create an industrial feel on “Never Say Die.” Dark, heavy, echoing guitar chords again play on the stark contrast to Krauss’s airy vocals on “D.O.A.”
Overall Rating:
Though the volume on Reign of Terror does not exactly match Treats (in that I didn’t have to take out and look at my headphones wondering if they were broken or whether the music was just that loud), Sleigh Bells does refine its sound on this new release. Krauss’s vocals are as silky smooth, delivered with ferocity, and catchy as ever. Miller expands the sound on Reign of Terror by not only maintaining maximum volume, but pairing up Krauss’s vocals along with variations of the supporting instrumentation, often altering the tone of the song in the process. Overall, Reign of Terror stays within the same realm as its predecessor, though the band focuses in on its strengths for an enjoyable listen.
Don’t take Jesse Thomas too seriously, but take her music very seriously. She’s a hilarious girl when it comes to commentary and spoken word. However, she writes mainly emotional, acoustic and ear-catching songs. War Dancer is her debut full-length album, and it sounds like the work of a smoky-voiced siren who cracks jokes when speaking but gets her feelings out when singing. A true creative channeler, indeed.
Sounds Like:The Weepies, Lifehouse, Cary Brothers
“Better Geography” starts with soft acoustic strumming, a mellow bass line and a barely-there shaker keeping the beat. When Thomas opens with, “I’m no good at emotional stuff,” she gives us a winking glimpse at the heartfelt, occasionally poignant contents of this diary-like album. She yearns for the love she lost to that someone else, reckoning “All she has on me is better geography” and rhetorically asking “Is that enough?” with the can-do resolve of a girl who’s getting her man back. The simple instrumentation complements her straightforward intent, with only a tambourine, bass drum and ethereal backing vocals entering the calm, collected tune toward its end.
“You I Want” picks up the pace significantly with upbeat drums, driving acoustic strums and a smooth, sliding bass motive. Thomas opens with another clever line – “I said too much again / Foot-in-my-mouth syndrome” – followed by a nod to her sometimes-salty vocabulary – “How did I f*** this up? / I shoulda held my tongue.” The jam quickly builds to a pulsating, pleading chorus as she begs her lover over to talk things out, of all things. Hand claps come clattering in at second chorus, along with echoing backup vocals before she gives one last try to entice him with a peace offering of wine. Alcohol always fixes everything, right?
Key Tracks:
Better Geography, You I Want, Back to Fighting, Song for You, Already Mine
“Sidewalk Ends” sounds like a song written for a terminally ill friend. It’s a quick, hopeful ditty with jangly strumming, lively mandolin and bouncy bass that juxtapose well with the moody cello and bass drum. Thomas drifts from one emotional extreme – “Sometimes her heart beats fast / Like a little heart attack / But I love her, I do” – to the next – “She said she’s leveled out / The medication’s working out / Well I hate her, I do” – with voice-cracking vocals that mirror her torn feelings for that special someone whose body and soul are stretching them thin. Yet with unwavering certainty, Jesse vows to always be there.
“Brave” keeps things mellow and borders on the dreamy territory of the Weepies. It opens with smooth falsetto backing “oohs,” a stand-up bass, shoegaze strumming and slow-country lead guitar, all of which form the song’s steady backbone. Thomas employs her signature style of honest, pleading, almost-whispered vocals to great effect over the tune’s chill, somber orchestration. “I’m ready now, I’m ready / These obstacles seem petty,” she croons as she prepares to put aside her fears and wholeheartedly give her heart away.
Music video for “You I Want”
“Oh My Dear” continues the chill vibe with its ever-so-soft finger-picking and slow build. But it adds some intrigue and tension with as the chorus comes in all flustered and frustrated. “I trip, I trip on every word / You make, you make it less awkward / Our eyes in a line, my love is redefined / I choke, I choke, I shoulda spoke,” Thomas sings. This one really comes to life during the heavy-drum bridge, and the dramatic piano sprinkles on the sadness, driving home its message of a missed opportunity at fate-driven love.
Nothing against the previous few tracks, but beginning with “Back to Fighting,” War Dancer gets really good. Playful piano crescendos open up the song – and I’ll admit: I was disappointed they didn’t persevere throughout. Still, it makes for a great tune thanks to upbeat snare-and-high-hat drums, sliding-and-scorching electric guitar accents and relentless acoustic strumming. Its group chant ending really sets it apart as distinct, (ironically) collective and sing-along worthy.
“Song for You” is another great one. Rhythmic finger-picking and the oh-so-catchy “you-ooh-ooh-ooh-ooh-oohs” make it unforgettable. Thomas’ drawn-out vocals seep through your skin to show you just how earnest she feels about the loved one for which she pines. “We could watch reruns of Jeopardy / Yelling at the TV screen / Rooftops and shooting stars / Roadtrips in my beat-up car,” she sings, obviously for that one-and-only person. Rightly so, the steel drum hits add a unique touch that works surprisingly well with the songs moody cello and downtrodden strumming.
Best Lyric:
“I’m ready now, I’m ready / These obstacles seem petty” - “Brave”
Next up is “Already Mine,” yet another keeper. A rare gem on the album, this one would make a good dance number. Its bouncy stand-up bass, bluegrass drums and lively strumming keep it all upbeat and fun. The doo-woppy chorus takes it to another level – compared to War Dancer’s other tracks – as does its awesome trumpet break. Over all this revelry, Thomas tells her lover to forego the games and “bullshit” in favor of realness and honesty. Word.
“Madeline” brings things back down to the album’s mainly emotional feel. It opens with a piano line reminiscent of John Lennon’s “Imagine.” Her soulful vocals soon enter in, as does a melancholy cello and some dramatic violin. Speaking of which, this track’s violin break takes it up a notch, just before more strings come in to flesh out the main melody. Very nicely and classically done, Jesse.
I’m super-bummed to report that after a week of trying, I’ve still been unable to get “Whisky While I Wait” to download from iTunes. From what I can tell on the preview excerpt, though, it sounds like a bitter f***-you sendoff to a lazy lover with some good acoustic guitar and pensive lyrics.
Overall Rating:
As Jesse Thomas’ first album, War Dancer is a strumming contradiction, just like its writer. Sometimes it’s all sad and somber. Other times it’s fun energy and elation. But either way, it’s a great start for an artist that knows how to get in touch with both sides of the emotional spectrum. With her smoky voice, acoustic chops and elusive style, you’ll want to keep an eye on this one for sure.
Dr. Dog, America’s favorite Philly fivesome not named Dennis, Dee, Charlie, Mac, and Frank, puts forth its sixth full-length release with Be the Void. Dr. Dog is comprised of Toby Leaman (bass/vocals), Scott McMicken (guitars/vocals), Frank McElroy (guitar), Zach Miller (keys), and Erick Slick (drums). The band has built a following over the years based on its energetic performances and throwback pop tunes, and they stand to make a larger mark on the greater music landscape with Be the Void. But will this release make waves or fall on deaf ears?
Sounds Like:
Beatles’ pop prowess mixed with the modern twists of MGMT and Portugal. The Man
“Lonesome,” Be the Void’s opening track and early gem, opens with a slow-paced beat driven by booming bass drum hits and thunderous hand claps. A fuzzy electric guitar riff adds a backdrop for a dirty Delta-blues slide guitar to frolic in the background. The bluesy lyrics (“What does it take to be lonesome? Nothing at all”) match up nicely with the vibe set by the instrumentation. A dark, mechanized bass hook introduces “That Old Black Hole.” This track starts out with heavy synths and other ambient sounds, but quickly shifts gears to a more guitar and keyboard sound. The tone also turns to the brighter side with this shift, as guitars pick up the pace and add an upbeat lightness.
Syncopated piano chords and a driving electric guitar riff kick off “These Days,” before subsiding to a lone, pulsating bass riff as a backdrop for the vocals. The bass line is joined by the piano and guitar riff following the chorus, allowing the band to indulge in a little jam session. Lyrically, “These Days” refers to periods referenced using the cliche phrase “those were the days.” Dr. Dog, though, wants to avoid such reminiscing and focus on the present, illustrated well by the lively nature of this tune. The album’s pace hits the brakes hard on “How Long Must I Wait.” A bluesy guitar solo over a stand-up bass line opens the song, and is joined by a heavy, hip-hop inspired drum beat accented by dark, dreary piano keys. Lyrics explore the emotion of carrying around the thoughts of an unrequited love and wondering how long one should wait before jettisoning such baggage.
Music video for “That Old Black Hole”
“Get Away” opens with soft splashes of piano chords and subtly synthesized strings. Dr. Dog’s layered backing vocals, very reminiscent of sixties pop, are on full display on this track. The tune builds as the theme of this song becomes apparent through the lyrics, emphasizing the pursuit of challenges of the unknown. “Do The Trick” opens with another foot-tapping drum and bass beat. This easy-paced beat carries throughout, though accompanying instrumentation varies. Clever lyrics find a speaker listing his insecurities and longing for a “better half” to help find some sanity.
Key Tracks:
Lonesome, That Old Black Hole, These Days, How Long Must I Wait, Vampire, Heavy Light, Warrior Man
The band jumps on a recent resurgent trend on “Vampire,” for which a booming electric guitar riff serves as the cornerstone. Humorous lyrics find the speaker professing his love for a vampire and some of the difficulties that arise from such a relationship — “you’re always giving me maybe if I get something at all / leaving me in the dark, oh what a nerve.” Verses are driven by a moving bass line and soft organ chords; the electric guitar riff adding significant bite, comparatively. “Heavy Light” seems to include two different movements. The first part of the song is driven by subtle synths, a simple guitar riff, and a drum beat that feels like it’s holding back. The tune quickly changes color, initially carried by what sounds like an electric sitar. The lyrics significantly change tone, as the latter portion of the song takes a more positive tune (“I wish I only gave love”) before fading out to silence.
A driving drum beat, piano, and electric guitar push “Big Girl” at a quick pace. Dr. Dog doesn’t venture too far into the unknown on this track, as the guitar riff maintains throughout. However, the band does indulge in some exhilarating guitar theatrics. “Over Here, Over There” explores the many roles we each have but often overlook. This one opens with a lively strummed acoustic guitar riff, and picks up pace with the entrance of drums and keys. The chorus is joined by electric guitars, adding another layer. The song ends in a flurry of guitars and drums, almost unrecognizable from where it began.
Best Lyric:
“I don’t want to let go / People they get so old / I hate when people say “those were the days” / Oh what are these then?” - “These Days”
“Warrior Man” opens with a digitized synth and other ambient sounds, before settling in to a sauntering pace driven by fuzzy electric guitars and a industrial-sounding synth hook. The pre-chorus stands in stark contrast, as the heavy drums and synth drop out, leaving a soft synth hook and layered vocals. Humorous vocals find the “warrior man” boasting his accomplishments, ranging from the creation of krav maga to the computer, “hubcaps and soda cans.” “Turning the Century,” the last track on Be the Void, begins with a finger-picked acoustic guitar riff accompanied by sitar. This instrumentation carries through the majority of the song, joined by light drum work and other ambient sounds. Though darker lyrically, the laid-back vibe of the tune makes for a solid last track.
Overall Rating:
Be the Void includes all the strengths Dr. Dog has picked up over the years. However, this album also illustrates the band’s continuing ability to make albums that capture the energy of their live shows while in the studio. Be the Void features solid songs from top to bottom, a testament to their songwriting abilities.
I have no idea why, but The Soldier Thread harbors an obsession with bulls. I do know they’re an Austin-based quintet comprised of keyboardist Justin McHugh, guitarist Todd Abels, singer Patricia Lynn, drummer Drew Vandiver and bassist Chance Gilmore. The Bull EP is the rock/pop band’s 4th release, 2nd EP and latest display of bullish bias. Their recent singles “Matador” (a.k.a. bullfighter) and “Anybody” are also worth noting.
Sounds Like:
The Killers, Blue October, Explosions in the Sky
As the opener, “No Parachutes” sets the stage well for the EP. Its ethereal keys, high-hat beat, piercing guitar and emotional vocals give you a great taste of The Soldier Thread’s rock/pop/dance style, which has reportedly been evolving nicely as of late. And the music and lyrics are fused together so seamlessly, you get the feeling of free-falling through the air—a nice thematic touch by the band.
“Would It Kill You” blares guitar arpeggios right from the start and keeps ‘em coming throughout. Fuzzy synth and bass, some lively drumming action and slightly shrieking vocals let you know they’re not f-ing around on this one. The tension is palpable, especially on the haywire bridge, as Lynn laments “You wanna know what to brace for, what to do / I wanna know, too — I do.”
Key Tracks:
No Parachutes, Pretty Bones, For You
“Pretty Bones” is easily the best song on this EP. With breathy, sexy whispers; a keyboard arpeggio hook; driving, double-duty drums and a catchy-as-hell chorus, you’d better grab this bull by the horns and hang on for dear life. It slows down for an echo-filled, whirling breakdown and comes right back for one last chorus before ending with a dirgey organ close.
Music video for “Matador” (none available for tracks from The Bull EP)
“For You” opens with just a piercing synth. Then, like an angry girl who’s “almost out of patience” pounding at your door, banging drums join in along with fuzzy guitars and distant, disillusioned vocals. If you’re not listening closely, you might easily mistake this emotional track for just another dance jam. It’s definitely worth busting a move to, and Lynn’s staccato vocal hook will likely have you singing along in step.
Best Lyric:
“All my love is made of concrete / It’s a dead weight dragging on the ground / It will build you up so high / into the sky and watch you as you drown” - “Pretty Bones”
“We’re Not Going Down” closes out the EP by letting you down slowly. It begins with a meandering, slowly building start thanks to some whirly, other-worldly synth and wandering guitar work. Lynn sings about not going down “without a fight,” although the track definitely conveys the sense that someone has been badly beaten. I suppose that’s the idea, though — that our protagonists may be almost dead, but they’re still not giving up.
Overall Rating:
The Bull EP is a good start. The Soldier Thread did right by releasing it as an EP, as I believe these songs need a tad more development. They’re headed in the right direction, and they’re finding a sound that’s unique, intriguing, emotional and ear-catching. I’d personally like to hear more storytelling in their music, but judging by the following they’re accruing here in Austin, the band is clearly onto something much more than bull.
Chairlift is a Brooklyn-based duo comprised of vocalist/songwriter Caroline Polachek and multi-instrumentalist Patrick Wimberly. Something is their sophomore full-length release, the band’s first release following the departure of founding member Aaron Pffening, who left Chairlift after their 2008 debut Does You Impress You and a failed romance with Polachek. Blogosphere buzz and attention fell upon Chairlift’s shoulders following that first release, which was further bolstered by an Apple ad that featured the single “Bruiser.” With the resources of a major label (Columbia) behind them, Chairlift looks to buck the sophomore slump with Something.
Sounds Like:
Brooklyn-based duo puts a dark, chilling, modern stamp on eighties new wave and finds pop gold along the way
Something’s opening track, “Sidewalk Safari,” sets the bar high with its searing, syncopated snare hits and sinister, lurking synth hook. Polachek really digs into the character of the song, a scorned lover looking to take revenge on those who scorned her (“I do know how to drive a car faster than a man can run”). Faint drums and ambient rumblings open “Wrong Opinion,” before breaking away to a warm, pulsating bass line punctuated by an even snare hit. Soft, airy synths set a calm and complementary backdrop for Polachek’s easy, airy vocals during the verses, while harsher, industrial-sounding hooks appear intermittently to providing a stark contrast to her voice.
“I Belong In Your Arms,” another of the album’s highlights, is a sweet, synth-heavy pop ballad. A cascade of synths, upbeat tempo and catchy melody result in a solid chorus. Verse vocal melodies build anticipation that is delivered by the chorus; a positive, upbeat tune for the romantically forlorn out there. Chairlift takes a turn for the darker on “Take It Out On Me,” which opens with a dark, eerily groovy eighties synth hook. Polachek’s vocals are especially sultry on this track, commanding its presence against (at times) a sparser field of synths. Wimberly also shows off his ability to layer and weave different sounds on this track, all while playing off the strength of Polachek’s vocals.
Music video for “Amanaemonesia”
“Ghost Tonight” starts with simple finger snaps, Polacheks vocals and a bass line, before setting sail on another synth odyssey, paddled along by a booming bass line. Wimberly’s ability to layer and add variety to synth lines is present once again, as sounds range from bright, bouncy, melting synths to another extreme of short, halting, march-like sounds. “Cool As Fire” again features Polachek’s vocals, though this time seemingly at the expense of Wimberly’s sonic strengths. The tempo on this track is on the slower end of the spectrum and never really picks up any steam. Although the subtle synths and other ambient rumblings provide a unique contrast to Polachek’s vocals, this track could arguably be a low point on Something.
Key Tracks:
Sidewalk Safari, Wrong Opinion, I Belong In Your Arms, Take It Out On Me, Amanaemonesia, Met Before, Guilty As Charged
The energy picks up again, though, on “Amanaemonesia,” a song about a fictional disease and magic. Driven by an upbeat, stuttering bass line and faint, spacey synth blasts, Wimberly’s vocals make a brief appearance in form of a call-and-response type interaction with Polachek. Drums pick up the pace, and synths go into overdrive during the chorus, where Polachek delivers another solid vocal melody. Various synth hooks battle for supremacy during a dark, MGMT-reminiscent bridge. “Met Before,” another highlight, opens with a thundering, fuzzy, reverbed electric guitar chord, thumping bass line and steady snare drum hits, only to quickly change gears to a more synth-centered sound. Syncopated synth blasts carry the pre-chorus and chorus, as Polachek’s layered vocals carry the energy. A breakdown allows for an a cappella round of vocals and builds back again, assisted by the driving drum line.
“Frigid Spring” boasts a wider range of instrumentation from the rest of Something, highlighted primarily by the strummed acoustic guitar that is seemingly absent from the remainder of the album. “Turning” is another slower-paced synthesized escapade. Bright, reverbed electric guitar-picking add drops of sonic precipitation against a backdrop of fuzzy synth chords.
Best Lyric:
“I do know how to drive a car faster than a man can run” - “Sidewalk Safari”
“Guilty As Charged,” Something’s closing track, is another good one. A halting, bluesy bass line serves as the basis for the track. Polachek’s vocals get sultry on this one, as she coos “I’m guilty as charged, go on punish me.” Harsher, industrial synth blasts once again stand in contrast against Polachek’s airy vocals and simple bass hook.
Overall Rating:
Overall, Something is a solid album. Its highlights soar to breathtaking elevations, though its low points, in contrast, drag a bit. Chairlift have developed an interesting formula of taking eighties new wave ideas and putting a modern, hipster spin on them in a pleasing manner. Some standouts, such as “I Belong In Your Arms” and “Amanaemonesia,” are incredibly catchy pop ditties that will surely get booties shaking and feet tapping, while Something’s snoozers (“Cool As Fire” or “Turning”) will have the complete opposite effect. Fortunately for Chairlift and listeners, Something features more of the former than the latter, making the case for the band as possibly something greater than another one hit wonder featured on an Apple commercial.
There’s only one thing you need to know about Howler: they’re talented beyond their years. Based in Minneapolis, they are Jordan Gatesmith (vocals/guitar), Ian Nygaard (guitar), France Camp (bass), Max Petrek (keyboard) and Brent Mayes (drums), and their ages range from 19 to 24, respectively. While there’s “nothing really serious about his band,” they somehow nonchalantly create sludgy surf rock that’s definitely worth hearing. And like sand at the beach, America Give Up’s catchy jams will stay stuck in your ears for days.
The album opens with “Beach Sluts,” a title that lets you know exactly what kind of music Howler makes — sarcastic, occasionally foul-mouthed “surf thrash.” With fuzzed-out vocals, withdrawn verses and howling choruses, Gatesmith’s delivery sounds a lot like Julian Casablancas’ early style. The jam itself follows suit, jumping from slow, melodic verses to frantic, thrashing pre-choruses to amped-up, anthemic choruses. Hand claps add a touch of humor, and the guitar melody mirrors the vocal one to almost beat you over the head with its catchiness.
Sounds Like:
The Jesus and Mary Chain meet The Strokes in Cali for a surfing contest
Next up is “Back to the Grave,” a short, upbeat jam which Gatesmith admits was intentionally written in the vein of The Jesus and Mary Chain, only without a chorus. “Where will you be / in 2023? / In someone else’s arms / and not with me” he croons in a deep, almost comical tone that subliminally tells you these guys don’t take themselves too seriously. The off-the-wall yet right-on-cue antics continue with sludgy power chords set against falsetto woo-hoos and wailing harmonies that get the muted treatment. The catchy, almost-raucous affair ends in a heavily affected, whirring burnout.
“This One’s Different” is a title of deliberate irony, in that the song was the impetus for the Howler’s sound as a band (see the link above for more on that). Presumably it’s about a girl Gatesmith wants, but the bigger picture is likely about that youthful impatience for something beyond one’s sheltered, boring existence. A driving, cymbals-crashing and guitar-wielding jam, the track is the first on the album to spotlight Nygaard’s scorching lead guitar work, and there’s plenty more where that came from later on. Appropriately, the song’s breakneck speed makes it feel as urgent as its sentiment.
Then there’s the purposely confusing title track, “America.” Howler knows full and well that this album is anything but political, but they like being assholes. Granted the song has a stance, it’s more cultural than political. “Shotgun wedding at a quarter to five / I shot the husband, and I sleep with the bride,” Gatesmith sings, shunning planning ahead in favor of spontaneously living in the now. With plenty of jangly, frenetic guitars and layered background vocals throughout, the song takes an interesting staccato turn at the end for a nice change-up.
Music video for “Back of Your Neck”
“Too Much Blood” suitably opens sounding like a funeral dirge with only organ and drums. Those two are quickly joined by slow, grungy guitar and soft backing croons and the track takes its form with a distant, spacey, almost-creepy-yet-addictive vibe. Howler again stirs up sounds similar to The Jesus and Mary Chain as Gatesmith provides disaffected vocals and Nygaard brings out screeching echoes from his electric guitar. Very weird but very cool.
“Wailing (Making Out)” is a standout track that made it from Howler’s EP to America Give Up. The punk-pop gem’s carnival-esque keyboards, staccato strumming and guitar-and-drums break is all youthful angst at its finest. With sarcastic lines like “I wanna die young as a star / Is that too much, is that so hard?,” the track’s tone reminds me of MGMT’s “Time to Pretend.” Gatesmith aptly wails the closing chorus/bridge as if everyday life really is a living hell. Burning bright like that star mentioned earlier, the track’s brilliance is only dimmed by it s brevity, clocking in at just 2:02.
Headbangers, get your necks ready. Sounding like the soundtrack to a fast-forwarded surf video, “Pythagorean Fearem” brings a breakneck bass line, screeching guitars, cymbal-heavy drums and more super-deep, almost laughable vocals with the occasional shriek. It’s got a killer crescendo halfway through, followed by a breakdown that politely lets you catch your breath before it all builds up again for an almost-as-strong guitar-heavy ending.
Key Tracks:
Beach Sluts, Wailing (Making Out), Pythagorean Fearem, Told You Once, Back of Your Neck, Free Drunk
“Told You Once” is an instant hit that’ll get your lip curling and your foot tapping. Its jangly, acoustic guitar backing carries a bouncy feel throughout, well punctuated by hand claps and snare hits. Then its super-catchy surf rock guitar hook comes riding in, soon followed by a wave of sludge guitar as the solo deftly maneuvers through its ominous force. Forget the downer lyrics like “I hate myself more than I hate you” and enjoy this jam for the mini-masterpiece it is.
Another sand-infused tune follows right after, as the opening guitar hook and Beach Boys-ish backing vocals open up “Back of Your Neck.” The song’s jumpy, nervous feel is comprised of staccato guitars and drums, a West Coast guitar solo, and falsettos so high, someone must be squeezing their balls. It all slowly falls away before coming crashing back in like a 60s beach blanket party.
“Free Drunk” blends a chill vibe with shoegaze stylings. Apathetic lyrics, popping drums and spacey keyboard effects create a swaying, almost seasick track. Plenty of catchy backing vocals and understated guitars add to the motion, until this smooth, soft jam is over before you know it.
Best Lyric:
“I think you’re mid-July/ Smoky, wet and hot as a crack pipe” - “Back of Your Neck”
With its staccato pulsing and chanting, “Black Lagoon” sounds like a Bass Drum of Death B-side. Nygaard’s antsy guitar work rears its wily head again, over surf chord strums and crashing cymbals. Gatesmith’s vocals spell out the song’s title and cleverly turn the O’s into extend oohs. Its sarcastic flair definitely turns a beachy feel into a more dark, dangerous lagoon, as the lyrics recount a story similar to the plot of old-school horror film Creature from the Black Lagoon.
“Pale Skin” rounds out the album with breathy vocals and chug-along drums. Signing off in Howler’s signature style, the song takes fuzzed out guitars to another level, delivers couldn’t-care-less vocals, and clocks in at just under 2 minutes as the record’s shortest song. Still, it makes great use of instrumental layering and lack thereof to build interesing tension throughout.
Overall Rating:
America Give Up is a seriously strong effort for a first album by such a young band. It’s a lot of surf, a lot of sludge, a lot of sarcasm and a lot of simplicity. These kids are clearly still impersonating their idols, but they’re also making some interesting choices along the way that give Howler its own sound most of the time. All five of these guys are skilled musicians despite their young age, and they’re showing promise as a good young band that will likely mature to be great. So if you like guitar rock with a surf sound that’s fuzzy at the fringes, don’t give up on Howler.
Oakland-based quartet Winfred E. Eye releases its fifth full-length album with Today Was Another Day. Though much of the band’s lineup has been a revolving door of different faces since its debut in 2000, frontman Aaron Calvert and bass guitarist Mikel Garmendia have been at the core throughout.
Sounds Like: Tom Waits, Wilco, Uncle Tupelo
Clean electric guitar strums and airy keys open “Money In Bank,” Today Was Another Day’s opening track. Savvy drum work picks up the pace of the tune, as Calvert’s Tom Waits-esque vocals sing of moonlight over an easy moving bluesy groove. The chorus is filled with vocal harmonies and blues guitar riffs. Syncopated piano keys and free-ranging guitar riffs drive “We’re Farmin’,” which finds Calvert riffing on the subtleties of his garden (“there’s worms in the mud / they’re making vitamins / we’ll take care of them we need them too”).
Best Lyric: “Don’t let it fall on my watch, no / I get paid to be a professional / but when I’d to think I know my trade / but sometimes I can’t and I don’t trust myself, no” - “No $”
The subdued guitars, dreary keys, and rumbling guitars on “Void” create a darker tone, matching Calvert’s longing lyrics (“stacked on the bills I owe / is a check my heart can’t cash”). The tempo picks up quickly on “Hard Time Comin’.” Steady drums and gently distorted guitar strumming lay the baseline for Calvert’s vocals and intermittent guitar solo riffs. Calvert’s heartfelt lyrics try to explain the heavy emotions encountered when losing someone close before their time.
Garmendia’s moving bass line is accentuated by bells and playful guitar riffs on “No $.” Calvert’s lyrics speak to the general collective that have found difficulties in these tough times, finding comfort in the fact that he is joined by others in the day to day fight to survive. An agonizingly slow, dark blues riff carries “Sentimental Junk,” as Calvert’s lyrics take a scathing look at what lies beyond the white picket fences of a not-so-picture-perfect suburban home.
Music video for “Money In Bank”
Calvert & Co. take large retail chains to task on “Customer Service.” An easy-going melody turns slightly sour, very reminiscent of poor customer service. Calvert’s tongue-in-cheek lyrics (“I can’t get no service here and I’m out on my own / well how do you expect this big box to feel like home? / My money and my time are too precious to spend on you / there’s got to be a farmer’s market around here”) and smooth melodies make a strong argument. Calvert channels his inner Ben Harper on “Burnin’ Alone,” as his croons of love loss float over soft blues riffs.
Key Tracks: Money In Bank; We’re Farmin’; No $; Customer Service; Burnin’ Alone; Why Me; The Office, Him and Me; Movin’ On
An ominous bass line and chilling backing vocals carry “Froze Heem.” Quick drums and a cascading guitar riff provide a change of pace on “Why Me.” On this track, the main character questions his bad luck, fully knowing that he brings it all upon himself (“you drank too much / you shoulda known better / I shoulda known better”). Winfred E. Eye seems to hit its stride on “The Office, Him and Me,” as a palm-muted guitar riff and lighter-picked riff play against each other over a jamming drum line. “Movin’ On” is a somber number, nicely wrapping up Today Was Another Day.
Overall Rating:
After listening to Today Was Another Day, my day was brightened up a bit because of it. With minimal expectations going into this review, I found the upbeat songs to be thoroughly solid, finding their stride in the Americana/alt-country jams. Calvert’s songwriting is strong, as even some of the slower and more somber tunes still exhibit some interesting story lines and other lyrical gems.
