Last Week's Album

Review: Mutt by Cory Branan

kevinlane — Wed, 30 May 2012 07:54:00 -0400

Cory Branan is a Nashville-based singer/songwriter who shifts from heart-wrenching ballad to happy-go-lucky ditty without missing a beat. On his third album, Mutt, he sings of hard-luck dreamers, heartless heartbreakers and lonely survivors over acoustic guitars, blaring horns, pulsing drums and brooding strings. It’s an album that wanders through sounds like a stray through the streets, and on it Branan packs as much creative bark as he does playful bite.

Sounds Like: 
Tom Waits, Ryan Adams, Bruce Springsteen, John Mellencamp, Todd Snider

“The Corner” warmly welcomes you into Branan’s song space. He draws you in with soft picking – still tuning up, mind you – and introspective imagery: “Down on the corner of what I walk / And what I tend to get / Day drinking and dreaming of you, I let / the ashtray smoke my last cigarette.” Sounding like Richard Buckner with a lot more pep, Branan meanders between talking and singing, much like he shifts from soft picking to hard plucking. Yet for all the walking he’s done, he’s still got miles to go, singing “I ain’t transcendin’ nothin’ / I’m still down in it.” Welcome to the Cory’s corner, where clever meets sincerity.

“Survivor Blues” flies in like a bat out of hell with electric guitars, snare-heavy drums and a rolling bass line. It’s Branan’s take on Springsteen – crescendoing guitars, chanted choruses, pounding pianos. And most importantly, a story of moving on. “Struggled to read his knuckle tattoos / beneath the ring and the scar / but the left said love and the right read true / she said please say you got a car.” The pair of jaded lovers ride off into the sonic sunset of waning guitars, screaming vocals and down-beat crashes, trading war stories the whole way.

A tuba, horns, piano and double-beat drums turn up the vibe on “Bad Man.” Branan’s character doesn’t much stock in what other people think of him, and he turns their unkind words around on stay in the good graces of his woman. “They say I’m a bad man and they’re right/ I’m a bad man / but baby, I think a bad man / would do you good,” he quips. Yeah, it’s a little cheesy, but Branan owns up to it with chanted choruses, barroom ballad piano, and a crafty bridge that brings the song back from near-silence.

Cory Branan performs “Survivor Blues”

On “Darken My Door,” Branan croons/whispers a slowdance number over steel guitar, acoustic guitar, piano and organ. He calls for total darkness in the night, wondering of those who keep their lights on, “What do they think the night is for?” Soft female backing vocals and light percussion help set the mood so he and his lover can shed their “overcast pasts” with some “dark red wine.” Ultimately, the darkness allows him to appreciate and embrace the light of their new day. If you like Ryan Adams, you’ll love this song.

“There There, Little Heartbreaker” opens like a Broadway ballad. Strings and a softly plucked harp layer on the sarcasm of Branan’s tongue-in-cheek sympathy. “There there, little heartbreaker / It’s only one night alone / Just keep away from the windows / And stay way away from the phone,” he croons to a downtrodden Don Juan who yearns to get back out there and lie to lovers. The harp becomes the song’s central instrument, cascading through the choruses and squeaking through the solo as Branan mocks our protagonist.

Branan himself admits Tom Wait’s influence on “The Snowman.” A bongo beat and horn stabs carry us through this woozy, boozy, trippy trip along a scorned lover’s journey from hapless sap to heartless bastard. Cory coldly sings, “We are the ghosts / We don’t even believe in / We are the snowmen / We are the snowmen.” Creepy indeed

“Yesterday (Circa Summer 80 Somethin)” plays like a walk down memory lane. “It was undeniably summer / and I was certifiably cool / With my acid wash jacket and my stonewash jeans / I rose out of the kiddie pool” he sings with a smirk in his voice. Branan employs an appropriately Mellencamp-y strum rock vibe – he even namedrops The Cougar – along with lively drums and, oh yes, hand claps. A scorching, over-the-top electric guitar solo rounds out the most obvious opus you’ve ever heard. But Branan knows it, and that’s what makes it okay.

Key Tracks:
 The Corner, Survivor Blues, Karen’s Song, The Freefall, Jericho, Lily

“Karen’s Song” comes pounding in with a kick drum, bluegrass acoustic guitar and waning steel guitar. Branan sings of the good times he had with an ex-girlfriend who “fancied herself a fiddle player” – “I guess it gets as cold at night / She done strung my blood with light / She lined my cold with kites / She lined my cold with kites.” A foot-stomping tambourine-and-kick-drum beat keep this one kicking, and a rousing steel guitar solo rounds it out nicely.

“The Freefall” tells the tale of two lusters who need someone more than they do each other. It’s a percussion-heavy rhymefest in which Branan strings together couplets like it’s nobody’s business. “I was fucked up / As my haircut / She was wasting / Good perfume / It was useless / As the truth is / In these ruthless / Little rooms.” Super-simple pensive piano, double-beat trashcan drums and dramatic steel guitar build a lonely, needy tune, until he changes the beat up at the last second – leaving you with that uneasy feeling of a one-night stand who just walked out into the early morning.

“Jericho” opens with Branan’s voice, a thumpy bass line and electric guitar strums. He shifts to organ echoes for a verse, then it’s all rock guitars, hand claps, foot stomps and horn stabs. Branan spews quick rhymes about the meaning of life and nonsensical “ba ba ba’s” until a crazy sax solo steals the show. He slows things down before building ‘em right back up with all the feel-good orchestration, adding in a chanted cacophony of overlapping voices. “No one knows how no one feels / I wonder why I bother” they sing over one another, giving up on figuring it all out in favor of resigning to making a glorious noise.

Best Lyric:
“I woke up like a bullet wakes up from a gun / Too late to turn around / All hammered down and done” - “Hold Me Down”

Branan shifts gears to an angst-filled number with “Hold Me Down.” Theatrical strings, a lightly pounded piano and an evenly strummed guitar add to the tension as he pines for his lover’s affection: “Hold me down / Hold me still / Love me like you always will.” He slows it all down, and female voices chime in, creating an unexpected-but-nice call-and-response effect.

“Lily” continues the gloomy vibe with another slow, sad song. He’s at the deathbed of an old woman, waiting for her to pass and thinking about both the meaningless and the meaningful. He picks acoustic guitar over heavenly bells, reflecting on the biggest lesson she taught him about life and all its innerworkings: “Lily, I guess the best trick / is to see the magic / once you’ve seen the wires.” Like “Darken My Door,” this tune also reminds me of Ryan Adams.

Finally, Branan bookends Mutt with “Survivor Blues (The After Hours).” It’s exactly what its title makes it sound like – a chill, somber version of the rocking earlier track. Acoustic guitar, shaker beat and steel guitar give it a very different mood. They both have their strengths, although I think I dig the other one better. Nonetheless, this one shows Branan’s flexibility and diversity as an artist.

Overall Rating:

Mutt plays true to its name – a mixed breed of themes, sounds and styles. And while Cory Branan hasn’t composed the most cohesive album of all time, he does put his unique mark on each track. His signature style is one of clever wordplay, character perspective, nonstandard phrasing and emotional depth. At times he can get a little cheesy, but he’s smart enough to know where to draw the line. So if you’re looking for a singer/songwriter with a dogged taste for variety, give Mutt a listen.

Review: Bloom by Beach House

derekstahlman — Tue, 22 May 2012 08:42:00 -0400

Baltimore-based dream-pop duo Beach House attempts to exceed lofty expectations following its 2010 hit Teen Dream with their fourth release, Bloom. Written primarily while on tour in support of the former, the latter was recorded at Sonic Ranch in sparsely populated West Texas. The isolated recording space allowed vocalist/keyboardist Victoria Legrand and multi-instrumentalist Alex Scally the freedom to focus and refine their hazy, dream-pop sound.

Sounds Like:
Beach House records in secluded West Texas and strikes it rich in indie dream-pop gold

A falling cascade of electric guitar arpeggios rise above a drum-machine beat and keyboard on “Myth,” Bloom’s opening track and first single. Legrand’s trademark breathy, contralto vocals immediately provide a strong contrast to the backing sound. Purposeful lyrics explore the difficulty and necessity to move on following a failed relationship: “If you built yourself a myth / You’d know just what to give / What comes after this momentary bliss? / The consequence of what you do to me.”

Blaring organs, mid-tempo drum-machine beat, and a bouncing guitar riff kick off “Wild.” The band’s lyrical strength is highlighted on this track, as a dark tale of a broken family told through the eyes of the child is vividly and emotionally executed, despite its relatively few words. Legrand poignantly summarizes the real tragedy of the situation over the repeating chorus, lamenting: “Wild in our ways / What we are making / Heartless to say / Go on pretending.”

Key Tracks:
Myth, Wild, Lazuli, Other People, Troublemaker, Wishes, On the Sea, Irene

Bloom’s second single, “Lazuli,” begins with a drifting keyboard riff intro, before fading into layered keys/organs and mid-tempo drum beat. These elements combine to create a hazy, dream-pop delight during the long outro. This track finds Beach House right in their wheelhouse.

The tone gets relatively brighter on “Other People.” Droning organs and measured drum beats carry the intro and verses, while the chorus favors a catchy, warm, bouncy electric guitar riff. Lyrically, verses discuss the myriad of internal and external challenges facing relationships, while the chorus reminds us “Other people want to keep in touch / Nothing happens and it’s not enough / Never thought that it would mean so much / Other people want to keep in touch.”

Official music video for “Lazuli”

Ominous organ and a floating guitar riff with heavy reverb effects begin “Troublemaker.” The extreme range of sounds found throughout this track make it a standout. From its spacy, unassuming intro, the track slowly picks up intensity via subtle variations in instrumentation; guitar effects become increasingly distorted, while drum-machine beats grow from light beats to pounding drums. The sound ebbs and flows without a hitch, as the orchestration ranges from thread-bare simplicity to the opposite extreme.

Best Lyric:
“If you built yourself a myth / You’d know just what to give / What comes after this momentary bliss? / The consequence of what you do to me.” - “Myth”

Like “Troublemaker,” “Wishes” and “On the Sea” both reflect tracks that find Beach House pushing the envelope of each tunes’ melodies. While the former is heavy on the keyboard, the latter is guitar-driven, representative of the band itself. The grinding synths and mesmerizing keyboard riff on “Irene,” Bloom’s closing track, bring to mind a cloudy day on a Martian beach. As the track wanders into space, Legrand’s repetitive chorus summarizes Bloom well: “It’s a strange paradise.”

Overall Rating:

Though Beach House did not significantly change its sound on Bloom, there is no doubt that this new album shows significant growth from Teen Dream. First and foremost, Legrand’s lyrics show greater understanding of a bigger picture; where Teen Dream may have focused on a break up, Bloom discusses the importance of getting over it and moving on in life. This change in perspective, combined with the band’s increased attention to detail allow for well-delivered lyrics, adding to their emotional potency. Bloom is a solid effort and a “can’t miss” for anyone that was into Teen Dream.

Review: Summer Bodies by Dana Buoy

kevinlane — Tue, 15 May 2012 08:01:00 -0400

Last week, Derek reviewed Father John Misty, the moniker-using former Fleet Foxes drummer. Ready for a crazy coincidence? Now I’m reviewing Dana Buoy, another pseudonym-wielding drummer of an indie folk band. Also known as Akron/Family percussionist Dana Janssen, Buoy blends their psychedelia with the softer sounds of the Beach Boys to craft his solo debut. So grab your sunblock, and meet me at the next paragraph to dive into the tropical electronica of Summer Bodies.

Sounds Like:
A summer vacation love affair on the beaches of Mars

“The Anatomy of Now” sets up the electric beach vibe of Summer Bodies rather well. It opens with an a cappella cacophony of layered, affected voices, sounding like Paul Simon meets Harry Belafonte. Smooth, quick guitar lines, a light drum beat loop, and a handful of shakers blow through the track. “I bathe in you / Believing all I want to / It’s nothing new / Enchanted actualities” Buoy calls out, letting his voice echo across the digital waves as he basks in the moment of summer ecstasy.

“Call to Be” sets a quick tempo with bongos, whip cracks, and heavy tambourines. Echoing vocals, grungy guitars and shoegaze synths pound throughout, as a second wall of tribal voices weave in and out unintelligibly. Buoy opens and closes the track singing of progress and growth – “Surprising you and others / We penetrate, we lift, we conquer / Letting you discover / A promise kept made trust these offers” – until all the swirling elements crescendo and quickly fade.

Like the first track, Buoy begins “So Lucky” with his slightly electrified vocals, this time with soft glockenspiel-ish synth pulses underneath. A lively, trashcan drum beat really gets this one going in a fun, jammy MGMT sort of way. Buoy lays down the deep, joyful lyrics again, with lines like “Celebrate, you’re so happy to see with fragile eyes / That we love unconditionally / How have I, how have I been…?” Thought he never quotes the song’s title, it’s understood that it should follow each verse’s unfinished phrase.

Key Tracks:
The Anatomy of Now, Call to Be, So Lucky, Come My Side, Hand Over Hand, Futures Part

A quickly strummed electric guitar riff starts “Satellite Ozone” with an appropriately spacey vibe. Soon, hand snaps add a chill beat, Buoy’s vocals wail into the ether, and ringing keys in the background make you feel like you’re orbiting Earth on a bed of sand. He croons falsetto over bleeps and blips, channeling 60s soul and 80s electronica as he poses transcendental questions like “Could it be / So easily / These rays just haven’t yet been found?”

“Come My Side” starts off sounding like a Broadway number, with sing-song vocals that make you wanna swing around a lightpole. Then it moves from pure musical to a more of a Stomp sound. Trashcan drums, heavy synth and quick hand claps build together, until a whirl of synth keys and chords take the bridge to a deeper level as Buoy breaks it down with quick-tongued verses. Then he throws you for a loop as the song drops out and comes rousing back in for an extended, singalong fadeout.

A woozy sax and crackling hiss wander about at the outset of “Untitled 1.” It’s a short instrumental with echoing bells and a sporadic flute. A nice breather from the big, booming tracks it follows, but it does feel a bit out of place on the album. But whatever.

Dana Buoy performs “Futures Part” on WNYC’s Spinning On Air

“Delicate Suitor” opens with synth hits that sound like a deep panflute and a cello. Buoy croons, “As we admire summer bodies that lay in the grass soaking waves / We once were under certain skies that were lit only by distant sun.” A thumb piano solo adds whimsy to the tense backing chords, as does the swirl of guitars and effects that come in halfway through. This kaleidoscope of sound carries the song through a second wind of dreamy, upbeat wooze. Overall, it feels like the perfect score to some slow motion footage of a summer day at the boardwalk carnival rides.

The rockin’ country guitar lick that backbones “Hand Over Hand” pumps just enough energy into Summer Bodies’ cool lull to keep it going. And Buoy adds plenty of West Coast elements to keep it in line with the rest of the album: a quick drum loop, soft backup vocals, electric effects, high bells, and a piano ending solo. If Conor Oberst teamed up with Bon Iver, I think it would sound something like this, and that’s what makes it awesome.

Best Lyric:
“Old world, new world, it seems it’s still the same world / Hearts remaining hearts, and naked is naked” – “Hand Over Hand”

“Futures Apart” rocks back and forth like the hull of a boat smacking through a heavy wake. Sliding guitar lines, echoing synths, soft cymbals, and crooning voices ring out to create a late 70s AM gold sound. Buoy jams out some silky guitar work as he hums, “It seems no matter who you are / our nature all together ties to you.” Nice, simple harmonies close the song out to a nice, slow effect.

“Best Around” sounds like an lullaby from outer space. Buoy starts to let us down easy with a barren track that tiptoes through crescendoing vocals, synth echoes, distorted effects, and ethereal crackling. He drops short, rhyming triplets like it’s nothing, then lets the song’s spacey sounds ebb and flow until they all fade away.

Lastly, “We On the Sea” washes us back up onto the shore with soft waves of electric guitar and layered, harmonizing vocals. You can feel the sun setting, the wind blowing, and the day coming to a tired but satisfied end. A few synth stabs wean here and there like seagulls yelping their last calls of the day. “Just you and me / On the sea / Sailing,” Buoy and his 10-odd echoing selves murmur.

Overall Rating:

Summer Bodies does a phenomenal job of transporting you to that perfect beach in your mind’s eye where all is right with the world. You know, that final scene of so many action movies where our lead character find themself relaxing in the rays after all their life’s problems have been forever solved? Yeah, that place. Buoy craftily blends the spacey sounds of electronic beats with the natural tones of string instruments to create a uniquely foreign-yet-familiar, cool-yet-warm album of summer love. Just like beach volleyball, be prepared to play this all summer long.

Review: Fear Fun by Father John Misty

derekstahlman — Tue, 08 May 2012 09:01:37 -0400

Father John Misty is the moniker used by former Fleet Foxes drummer Josh Tillman. Though this is Tillman’s eighth solo release, Fear Fun marks his first release under this name and the first following his break from the Northwest indie-folk superstars. Tillman received accolades for his contributions in crafting the Foxes’ sound, so it would be safe to assume that Fear Fun should fall in line with the dreamy, folk-pop sound he helped create, no? Aside from familiar vocal harmonies and other elements inherently exclusive to each (via Tillman), this couldn’t be further from the truth.

Sounds Like: Former Fleet Foxes drummer finds new persona while moving to LA, resulting in indie-alt/country record of bizarre tales of the city’s unglamorous side.

Not only released under a new moniker, Fear Fun was also recorded in Los Angeles, a stark departure from Tillman’s previous abode in the Pacific Northwest. In an enlightening bio on Sub Pop’s website, Tillman describes his trying journey south, which leads him to write a novel, allowing him to develop a new persona, or voice, as a writer. In this voice, Tillman rejects the notions of self-pity and rehashing other tried mantras, and instead strikes his own path, speaking harsh yet relatable truths behind the guise of the new pseudonym. With this change in songwriting philosophy, and in conjunction with his immersion into various substance-fueled subcultures lurking throughout the greater LA area, Tillman finds an intriguing new voice as Father John Misty.

Fear Fun begins with softly strummed acoustic guitar and piano chords on “Funtimes In Babylon.” The momentum gradually builds with Tillman’s strong, layered vocals through the verses, as strings, mandolin, trumpet, and handclaps add subtle nuances to the slow and steady tune. In a heavily ironic air, the smoothly delivered lyrics foretell of the main characters dark urges over a sauntering beat, complete with a backing female chorus of “ooh’s”, ultimately warning “Lookout Hollywood, here I come.” The album’s second single, “Nancy From Now On,” carries a Fleetwood Mac-like beat and finds the main character fully embracing the wild LA party scene: “Everyman wears a symbol / And I know I have mine / I’ve got my right hand stamped / In the concentration camp / Where my organs scream ‘Slow down, man!’” Lyrically, Tillman vividly illustrates the absurdity and dangers of such a lifestyle, juxtaposed against an upbeat, easy-feeling sound.

Official music video for “Nancy From Now On”

“Hollywood Forever Cemetery Sings,” the album’s first single, is characterized by a fuzzy, distorted electric guitar riff, representing a stark sonic contrast to the Fleet Foxes’ staple acoustic sound. Like the title suggests, this track’s tone is dark, tragic, and emotionally raw, as the character searches for someone to share his grief: “Someone’s got to help me dig.” A quick strummed acoustic guitar, piano boogie riff, and subtle organs drive the country-inspired “I’m Writing a Novel.” This track boasts a number of hilarious quips, as the main character recounts various off-the-wall experiences encountered in the LA area, which, ironically, is filled with “people writing novels and living on amusement rides.”

Tales of unique encounters unfold on “Only Son of the Ladiesman” and “This is Sally Hatchet.” First Tillman pays tribute to his “ancient hero on Sunset Strip” upon his death. Driven by a steady beat and a strummed acoustic guitar, a plethora of harmonized vocals serve as a poignant, if not irreverent, tribute to a fallen icon: “They tied down his casket with a garter belt / Each troubled heart was beating in a sequined dress.” Then a sharp electric guitar riff joins harpsichord, mellotron, piano, and strings weaving in and out in an uneasy, spacy groove on “This is Sally Hatchet.” The haunting vibe of the song reflects the equally gloomy tale of a former celebrity’s daughter fallen upon hard times: “Pretty rattled by the way she empties a few clips out / Do I have a choice now? / ‘Point that thing away from me, Lady!’”

Key Tracks:
Funtimes in Babylon, Nancy From Now On, Hollywood Forever Cemetery Sings, I’m Writing A Novel, Only Son of a Ladiesman, Well, You Can Do It Without Me, Tee Pees 1 - 12

Organ, an even-paced drum beat, and acoustic and electric guitars carry the 70s rock-sounding “Well, You Can Do It Without Me,” a humorous take on the self-centeredness of the populace encountered. In a School House Rock-like lesson on selective disobedience, Tillman summarizes his point explicitly in the last verse: “If you’re bound for the throne but the King won’t die / I can occupy the Queen but that’s for her ‘n I / Yeah, I can do her and / You’ll be ruler / Without me.” Piano, minimal percussion, organ, and subtle strings are all that accompany Tillman on “Now I’m Learning to Love the War,” a somber tune in which he mournfully reflects upon the obscene amount of oil required to record an album and create other forms of art. Tillman even goes so far as to take responsibility for his part in it all: “Let’s just call it what it is: / The gentler side of mankind’s death-wish / When it’s my time to go / I’m going to leave behind things that won’t decompose.”

Best Lyric:
“I never leave the canyon / ‘Cause I’m surrounded on all sides / By people writing novels / And living on amusement rides” - “I’m Writing a Novel”

“Tee Pees 1-12” is another track boasting a country/western-inspired vibe, complete with fiddles, syncopated handclaps, and steel guitars. Over a honky-tonk sound, Tillman sings a bizarre tale where the main character is kidnapped by a psychotic woman who eventually takes him to a plastic surgeon so the two will look alike. Understandably shaken by the situation, the character vows, “If I make it out alive of Hollywood and Vine / I’ll build a cabin up in the Northwest.” Fear Fun’s final track, “Everyman Needs a Companion,” is a somber, searching tune, driven by strummed acoustic guitar, piano, organ, mandolin, and harmonized vocals. In a moment of self-searching, Tillman also offers some insight as to the new moniker: “I never liked the name ‘Joshua’ / And I got tired of ‘J.’”

Overall Rating:

Fortunately, I had minimal expectations for Fear Fun. Although familiar with the Fleet Foxes (check out our review of their 2011 release, Hopelessness Blues), I was not expecting a carbon copy on this release. However, it should be pointed out that some Fleet Foxes-faithful may find this offsetting, as Fear Fun is a clear departure from that sound, both lyrically and musically. Tillman’s newfound voice as Father John Misty is quite remarkable, in that he is able to humanize his characters and stories in an almost unsettlingly realistic manner. Though certain lyrics may prove shocking to some, Tillman’s voice as Father John Misty is a bold step forward. Overall, I found this album to be quite enjoyable and would recommend this highly to anyone who’s into Fleet Foxes, Dawes, and other indie-alt/country bands.

Review: Blunderbuss by Jack White – May 1, 2012

kevinlane — Tue, 01 May 2012 16:19:00 -0400

Knower-of-all-things Wikipedia describes a blunderbuss as “a muzzle-loading firearm with a short, large caliber barrel, which is flared at the muzzle…” The gun is also really f-ing loud, and it shoots out in all directions. On Jack White’s first solo record, you could call the Third Man himself a blunderbuss. He fires off his signature thunderous guitar, clever wordplay and throwback style as always, but adds some Nashville flair and backing voices to Southern-fry his sound.

Sounds Like:
Jack White hires a Nashville backing band of roots rockers to help him shake off women, wannabes, critics and Doubt

“Missing Pieces” opens the album on a quick, funky piano hook. Drums and guitar jump in, and White comes in reeling about a woman who’s literally tearing him apart. “I woke up and my hands were gone / I looked down and my legs were gone / I felt for her with my shoulder / But there was nobody there,” he screams. The piano keeps riffing throughout, White throws a scorching guitar solo on top of it, and then he gets behind the keys to rock your face right off your head.

“Sixteen Saltines” is classic White Stripes, with as much Hammond organ as snare drum. Jack thrusts out a guitar riff from hell, lets out a primal “Woo!” and introduces you to the lady who’s about to bust his balls. Between that riff, Jack wails like a banshee about the one he just can’t have: “The Lord knows there’s a method / To her madness / But the Lord’s joke / Is a boat in a sea of sadness.” Nevermind that he’s a creep who licks his fingers and drinks her perfume – just headbang through those parts.

“Freedom at 21” is another one about a girl. Weird, right? But its overtime beat, killer bass line and guitar solo excuse the unsurprising subject matter. This time, our young, oblivious heroine isn’t abusing him – she’s neglecting him. “Two black gadgets in her hand / That’s all she thinks about / No responsibility, no guilt or morals,” White quips before doing his damndest to get her attention with a squealing, scratching guitar solo and a brief punk chant.

Official music video for “Sixteen Saltines”

“Love Interruption” unplugs the amps for a softer, more acoustic tune sung with soul and angst. Over a chill piano riff and heavy strumming, Jack and backup vocalist Ruby Amanfu croon on about the hard lessons of bad love. After getting shanked, shoved, deafened, orphaned, bitten, beaten and left for dead, they finally swear it off for good: “I won’t let love disrupt corrupt / Or interrupt me / Anymore.”

Next up is the album’s title track, which opens with acoustic guitar, pedal steel and piano to set a somber tone. At times “Blunderbuss” sounds like some of the eerier tracks from the White Stripes’ Get Behind Me Satan. It’s got a sing-songy vibe that rocks back and forth as White recounts a dream of two lovers on their way to doing the dirty deed. “Such a trick pretending not to be / Doing what you want to” he sings as they find “a public place / To quietly blend into.”

“Hypocritical Kiss” starts with a piano flourish until drums, acoustic guitar, maracas, bass and Jack’s vocals join in. No longer upset with girls, he bitches out a dude instead. “And who the hell’s impressed by you? / I want names of the people / That we know that are falling for this,” Jack barks with palpable contempt. But amidst this and a few other biting lines, pianist Brooke Waggoner is the real star of this track, as she aptly shifts between tickling and pounding the ivories.

“Weep Themselves to Sleep” comes rocking in with piano, drums and guitars banging in unison. Underneath White’s staccato screaming, the music on this one sounds like Bruce Springsteen’s take on gospel. He wails on about “men who fight the world / And love the girls that try to / Hold their hands behind them,” as a call to arms for all the love-scorned men out there to keep on trucking. Again, Brooke Waggoner’s piano playing takes center stage, but White’s itching-and-scratching guitar solo shines through as well.

Key Tracks:
Sixteen Saltines, Freedom at 21, Love Interruption, I’m Shakin’, Trash Tongue Talker, Hip (Eponymous) Poor Boy, On and On and On

Putting his twisted spin on an old-school R&B tune, White then covers Little Willie John’s “I’m Shakin’.” Channeling the track’s original vibe, he throws in fuzzed-out guitars, hand claps and plenty of female backing vocals. But he takes the noi-vousness up a notch with his tense vocals and twitching solo. It’s much sweeter than earlier female-fueled songs on the Blunderbuss, so perhaps White’s heart is opening back up.

Similar to “Hypocritical Kiss,” “Trash Tongue Talker” sends a big FU to some poor sap who couldn’t keep his trap shut. It’s a down-and-dirty Southern romp, complete with jittery keys, swampy drums, edgy guitars and boozy bass. In between White’s wailing – “You broke your tongue talking trash / And now you’re trying to bring your / Garbage to me / I got some words for your ass / You better find somebody else up the street” – the band cranks up the pace and the volume to thrash out.

“Hip (Eponymous) Poor Boy” calms things down a bit, signifying the second main shift on Blunderbuss. It’s mandolin-heavy opening sets a lullabye-ish tone up front, but it picks up a little speed and a whimsical vibe as drums, guitar, piano and bass enter the fray. With lyrics like “I get into the game / But it’s always the same / I’m the man with the name,” this song goes out to White’s critics who have refused to let him blend in with his bands over the years in favor of always declaring him the frontman. It’s an interesting message to send on his first solo album, but rest assured it’s no accident. To drive that point home, he lets Brooke Waggoner and Fats Kaplin steal the show on piano and mandolin, respectively.

Best Lyric:
“Such a trick pretending not to be / Doing what you want to / But it seems like everybody does this / Every single moment” – “Blunderbuss”

“I Guess I Should Go to Sleep” opens with a flurry of piano, soft tapping and gentle upright bass before settling into a couple of tired-but-still-reeling verses. That same flurry rushes back in, a tenser verse follows, and White’s handiwork on the keys jives in. It all starts to calm down back down as he reflects on whether to accept the song’s title: “Upstairs, upstaged and upset / Keeping quiet is probably my best bet yet / ‘Cause I ain’t managed to say the right thing yet / Well, I guess I should go back to bed.” After all this delirious back and forth, everyone finally sings him to sleep.

A barely-there steel pedal opens up “On and On and On” with the song’s main melody. Acoustic guitar and piano duet on the same riff, then Jack sings along over both. Repeating the melody on different instruments is a simple trick White employs throughout the track, but he’s always makes slight rearrangements so it never gets old. All in all, this track mirrors White’s career, namely his ability to continually adjust his style while still sounding distinctly “Jack White.”

White rounds out Blunderbuss with “Take Me with You When You Go,” an all-hands-on-deck number that brings in the drums, piano, guitars, upright bass and everyone’s voices, along with some fiddle for good measure. And just when it seems like an unassuming soft closer, White and crew shift gears to crank this one up into a funky electric jamout.

Overall Rating:

Blunderbuss, like Jack White, is no easy sound to peg. It starts with rocking tales of evil women and unrequited love. Then it shifts gears to more soulful songs that swear off love and flip the bird to fake friends and critics. Finally, it settles into simple-yet-complex country-ish numbers that look toward the future with acceptance. You’ll notice way more piano and female backing vocals on this album than his previous releases, along with other interesting additions like mandolin, upright bass, fiddle and pedal steel. White blends these varying sounds effortlessly well with his signature guitar work and wailing voice, yet the album’s constant shifting makes it feel disjointed at times. But this lack of seamless cohesion was obviously intentional. That’s Jack White’s ever-evolving style — he can’t not change things up, even on the same album. Like the eponymous gun this album is named after, Blunderbuss shoots a loud, wide range of liberating destruction.

Review: Bound For Glory by Peasant - April 24, 2012

derekstahlman — Tue, 24 Apr 2012 09:02:00 -0400

Peasant is the brainchild of Pennsylvania-native Damien DeRose, who, per the band’s Facebook page, is joined by “Alex C” and “Bruno C.” Bound for Glory is 26-year-old DeRose’s fourth release under this moniker. After touring with acts like Dr. Dog, Horse Feathers, Cursive, and Delta Spirit, Peasant has built some buzz despite their recent arrival on the scene. On Bound For Glory, Peasant spins tales of heartbreak and joy over simple but rich indie-folk sounds.

Sounds Like:
Indie-folk band focuses on simplicity to hone its sound alongside leadman DeRose’s strong vocals

An even, picked acoustic guitar riff and a solitary bass drum kick off the album’s opening and title track. DeRose’s striking tenor vocals coo reassuring words despite tenuous circumstances. The song slowly builds to a peak over the last chorus, as a soft, distant electric guitar riff joins the acoustic guitar and drum beat while DeRose croons: “Don’t worry, don’t worry / You’re bound for glory.” The album’s first single, “The Flask,” follows. Driven mostly by a warm, fuzzy electric guitar riff, the melody changes hands between piano, acoustic, and electric guitars, never dropping a beat. DeRose’s talent for crafting catchy melodies is immediately evident during the during the chorus and harmonized melody of “ooh-ooh-oohs.”

Official music video for “The Flask”

A laid back guitar and drum beat start off “Girls,” where DeRose bemoans the many hardships fueled by the finer sex. A layered acoustic-and-electric guitar riff allows a second electric guitar to add sonic lamentations in the background, while DeRose murmurs, “What are we going to do? / I kinda loved you.” Peasant’s preference for simplicity is illustrated well on “We’re Not the Same,” a somber tune driven by softly strummed acoustic guitar, far-away-sounding piano chords, and a soft, steady drum beat.

“A Little One” is an upbeat tune, dripping with a bluegrass feel. Strummed acoustic guitar and mandolin carry the melody, assisted by subtle percussion. DeRose’s vocals are joined by a chorus of supporting vocals, adding to the intimate, sing-along vibe. An incredibly catchy guitar hook repeats throughout “Doesn’t Mean.” Although the lyrics don’t expand greatly, the guitar hook is joined by various instrumental elements throughout. The album’s longest song at 4:06, the band manages to maintain the intrigue through the duration, making this track also one of the album’s strongest.

Key Tracks:
Bound for Glory, The Flask, Girls, A Little One, Take It Light, Pretty Good, Stars, Don’t Let Me Down

“Take It Light” is another easy-paced, catchy track. Warmly strummed acoustic guitar, soft, steady drums, and a chorus of hums join DeRose as he sings about an argument with a significant other. Peasant kicks up the distortion level on the electric guitar on “Pretty Good.” Haunting, 60s-rock organ joins the biting guitar and drum riff. Following many acoustic numbers, this was a pleasant find.

Best Lyric:
“I know the stars I saw / And they had my name on them / And I got shot right down / And now I’m alone coming back around / Said if I do come back to you, turn away” - “Stars”

The band’s formula is again on display on “Stars.” Warmly strummed acoustic guitar, soft drums, and infectious vocal melodies add up to another solid track. “Stars” hits its highpoint toward the end, as a bluesy guitar riff joins DeRose’s layered vocals, warning: “Turn away / ‘cause you know we will work it out.” Steady piano chords and drums kick off “Don’t Let Me Down,” the album’s closer. Peasant really ends on a high note with this track, finding an entirely different sound, dominated by dueling key hooks and aided by an aggressive drum beat and subtle guitar hook.

Overall Rating:

Bound for Glory’s 13 tracks cover roughly 38 minutes. As a result, the relative brevity of ~~most~~ some tracks is noticeable. This has its pros and cons; slower songs breeze by, while the contrasting upbeat, more aggressive tracks seemed to end too soon. DeRose’s strong vocals, however, help to hide the latter. Overall, Bound for Glory is a solid effort for these up-and-comers, and would be a good listen for anyone into My Morning Jacket (especially their earlier stuff), Wilco, Ryan Adams, and the like.

Review: Stars and Satellites by Trampled by Turtles - April 17, 2012

kevinlane — Tue, 17 Apr 2012 15:43:00 -0400

Trampled by Turtles are known for crushing it. From their fast-paced tracks to their high-energy shows to their last album that topped the Billboard bluegrass charts, these guys step right over success after success. On their sixth release, Stars and Satellites, the five deft musicians from Duluth, Minnesota do it again. But rather than replicating their concert sound as they’ve done before, Dave Simonett (guitar, vocals), Tim Saxhaug (bass, vocals), Dave Carroll (banjo, vocals), Erik Berry (mandolin, vocals) and Ryan Young (fiddle, vocals) opt for a more measured album. And somehow they still achieve a sound that’s as lively as ever.

Sounds Like:
Rollicking bluegrass band channels the ghost of Hank Williams

“Midnight on the Interstate” begins with just a lightly strummed guitar and the occasional piano key. A simple banjo hook by Carroll builds the backing for the reminiscent ballad, and Young’s fiddle adds mellow moodiness. “And I was younger / And open like a child / Man, it’s been a while / Since I felt that way,” our lead character croons. The song ends looking forward, coming full circle between the regrets of yesterday and the promises of tomorrow.

Next up, if we hadn’t seen the “lights of the city” on Stars and Satellites’ opener, we’d all be howling right along with “Alone.” The song laments our born-alone-liness and sometimes isolated existence with reflective verses and a wordless “whoa-oa-oa-oa-oa” chorus. Voice, banjo, mandolin and violin all bend their strings in varying directions of loneliness, until they finally come together in a unified plea for company.

“Walt Whitman” calls up the classic upbeat-yet-earnest spirit of Trampled by Turtles. The music may sound fun and inviting, but the lyrics lament a deeper melancholy. “We drove fast shaking all the way / Like the waves in Californ / Sorry I never know what to say at all,” Simonett sings over raucous fiddle, bass, banjo and guitar.

Official music video for “Alone”

“High Water” just might be the saddest song you’ve ever heard. If you’re not careful, its heavy vocal harmonies, searing fiddle and gloomy stringwork could drag you down in the undertow. The tune bemoans the end that all of us will inevitably meet – “Young and old / Scared or bold / Do what you want with your time.” The ending slowly, craftily builds before it all subsides from the shore.

You’ll wanna put your dancing pants on for “Risk.” Young’s fiddle and Carroll’s banjo rip into a dizzying breakneck speed right from the start, and they don’t slow down for a second. Instead, the band opts to speed up halfway through the track, daring to see how fast they can play their instruments without spontaneously combusting.

After that sweatfest, “Widower’s Heart” provides a much-needed breather. Over waning fiddle and smooth banjo, our character pines over his long-gone bride with some of Simonett’s best lyrical work. It’s a rattling tale that faces the mundane reality of death, rather than the glorified fantasies such yarns tend to spin. The track’s standout moment occurs when Carroll fingers through a flamenco-ish banjo solo accompanied nicely by Berry’s Spanish mandolin backing.

Key Tracks:
Midnight on the Interstate, Alone, Widower’s Heart, Sorry, Beautiful, The Calm and the Crying Wind

Amidst an album of lonesome ballads, “Sorry” is the ironic odd man out on Stars and Satellites. Opening with honest lyrics like “There’s more to life than dying early / It’s new to me so bear with me a while,” the song feels like just another pop folk number, until the musicianship takes it to a whole ‘nother level. Banjo, fiddle, mandolin, guitar, bass, and vocals jam out in hoedown style, hitting a hard stop here and there without missing a beat.

“Beautiful” couldn’t be named better. Its poetic lyrics, heartfelt delivery and harmonic orchestration inspire us to feel the same awe for life that the song describes. “I’m scared that I… forget it / I hate that life goes on / The world so sweet and deadly / And too beautiful,” Simonett croons like a happily heartbroken hopeless romantic. Guitar, banjo, bass, mandolin and voice keep it real simple to let the track’s gorgeous message shine through.

“Don’t Look Down” reminds us of that Trampled by Turtles can hang with the best of them when it comes to rocking out. With the vocal-less confidence many bands are too scared to exude, the band cranks out an instrumental tour de force. First Berry’s meticulous mandolin picking takes center stage, then Young’s bending fiddleplay, followed by Carroll’s head-spinning banjo, until the whole band comes together for a rousing finish.

Best Lyric:
“I’m scared that I… forget it / I hate that life goes on / The world so sweet and deadly / And too beautiful” – “Beautiful”

“Keys to Paradise” finds our protagonist professing his love for the woman that can save his soul. Simonett sings her praises with crafty, heartfelt lines like “Up all night thinking of the ways to remain here” and “I get hopeful every time I see you crack a smile,” making his lyrics are the highlight of this track. There’s also a whimsical mandolin solo by Berry that captures the song’s punchdrunk-lovesick outlook.

“The Calm and the Crying Wind” lets Stars and Satellites down easy. The slow, soft waltz is gently driven by a rhythm guitar and a tambourine beat. Its mandolin-and-fiddle duet mirrors the track’s title characters, before a choral ending puts it all to rest, singing “The morning’s peaceful like it’s always been / The calm and the crying wind.”

Overall Rating:

On Stars and Satellites, Trampled by Turtles gives us an album that feels — in a good way — less like a concert and more like a record. They keep their sound captivating and evolving, which is no easy feat for a percussion-less bluegrass band, and what they do with five instruments and five voices is nothing short of amazing. Beyond their sound, Simonett’s lyrics on this album make you think as much as they make you feel. So if you’re into the Avett Brothers and/or Mumford & Sons, be sure to check out how these masterful musicians are kicking up the dust on traditional folk with their indie bent.

Note: If you dig this album, be sure to check out Derek’s review of Dead Man Winter, a side project of Simonett, Saxhaug, Young and others.

Review: My Head Is an Animal by Of Monsters and Men - April 10, 2012

derekstahlman — Tue, 10 Apr 2012 08:54:59 -0400

Since crushing the competition on its way to winning the 2010 Músiktilraunir, Iceland’s prestigious annual battle of the bands competition, Of Monsters and Men makes its U.S. full-length debut with My Head Is an Animal. Fronted by guitarist and vocalists Nanna Bryndís Hilmarsdóttir and Ragnar “Raggi” Þórhallsson, the Icelandic sextet has garnered a following on the band’s strong indie pop sound. Early indications, such as its domestic success in Iceland, suggest My Head Is an Animal meets its lofty expectations; but how good are these guys (and gal)?

Sounds Like:
Edward Sharp and the Magnetic Zeros, Arcade Fire, The Weepies

“Dirty Paws,” the album’s opening track, begins with a quick, intricately picked acoustic guitar riff that sets the stage for Nanna and Raggi’s harmonized vocals. The pair tells a dark, tongue-in-cheek tale of a battle between the birds and the bees. Following the more understated verses, the band opens up their sound, building to Arcade-Fire-inspired segments featuring pounding piano, electric guitar, drums, and shouted “hey’s.” Immediately, the band shows its ability to quickly change its tune from softer verses to huge-sounding instrumental choruses. “King and Lionheart” starts in much the same fashion, with Nanna’s sharp vocals over a simply strummed acoustic guitar riff, accentuated with single-strummed electric chords. As the song continues, more instruments and flourishes are introduced, further refining the complexity of their sound. Nanna and Raggi’s catchy vocal harmonies create consistency, as the band’s music builds with increased percussion, distorted guitars, keyboard hooks, and subtle accordion.

“Mountain Sound” kicks off with a quick drum beat, strummed acoustic guitar, and synth hook. The catchy, sing-along chorus extends into an extended jam session for the band. The lighthearted, upbeat tone is echoed by the whole group: “Hold your horses now / we sleep until the sun goes down.” The pace of “Slow and Steady” matches its title. Soft, muddy synth chords and ambient sounds start the tune. Although the vocal melodies continue at the same pace, drummer Arnar Rósenkranz Hilmarsson lays down some heavy beats, giving a pleasant contrast to the dreamy keys, hazy guitars, mellow trumpet melody, and smooth lyrics: “and I move slow and steady / but I feel like a waterfall.”

“From Finner” is an epic tune, which based on the band’s Facebook page, is about a “whale with a house on its back.” The track starts humbly, with Nanna’s vocals and a softly strummed, murky electric guitar. The sound builds over the chorus, as pounding drums, and ominous-sounding accordion, accompany a mob chorus of “la-la-la’s” and “hey-hey-hey’s.” Of Monsters and Men masterfully captures the theme of this seemingly silly story at the end of the song: “And we are far from home but we’re so happy / Far from home, all alone but so happy.”

Official music video for “Little Talks”

“Little Talks,” the album’s first single, first caught attention when it was recorded in the band’s living room by Seattle radio station KEXP (check out video of that performance here). Like the rest of this album, Of Monsters and Men show their ability to move between simple and large, complex sounds without missing a beat. The driving trumpet hook, chorus-shouted “hey’s,” and catchy melodies make this a solid number.

Key Tracks:
Dirty Paws, King and Lionheart, Slow and Steady, From Finner, Little Talks, Six Weeks, Love Love Love, Sloom, Lake House

“Six Weeks” is another song that highlights the imagination of the group. Inspired by a random story on the Internet, “Six Weeks” is about an old American frontiersman that was left for dead after killing a bear. A stomping bass beat drives this catchy, Arcade Fire-esque tune. Raggi provides the majority of the vocals on this track, though he is often joined en masse by the group, adding to the intimate feel of My Head Is an Animal. Raggi’s lyrics capture the intensity felt by the main character: “Alone I fight these animals / Alone. Until I get home.”

“Love Love Love” is a dark, possibly misleadingly titled tune. Murky synths and softly strummed acoustic guitar accompany Nanna’s vocals. The song’s twist is revealed during the chorus: “‘Cause you love, love, love / when I can’t love, love, love you.” Lively strummed acoustic guitars begin “Sloom,” a moving number highlighting Nanna and Raggi’s vocal harmony talents. Verses are based on a call-and-response format, but the two combine for a capella choruses. Hand-claps and soft, ambient electric guitar flourishes are introduced as the track picks up momentum, all bearing down for the a capella choruses.

Best Lyric:
“And I’m never ready / ‘Cause I know. I know. I know / That time won’t let me / show you want I want to show” - “Slow and Steady”

Like the rest of the album, “Lake House” starts auspiciously with a simply strummed acoustic guitar and vocal melody, building ever so subtly to huge choruses filled with rumbling snare drum hits, horns, distorted guitars, and a chorus of vocals. The song’s joyous, reminiscent lyrics invite listeners to join the party: “Come on in. Come on in / Where it all begins.” “Yellow Light,” the closing track, has a mysterious, uneasy vibe. Starting with a simple, plucked acoustic guitar riff, the sound builds slightly, aided by soft, steady drums, a repetitive keyboard hook, and ambient sounds.

Overall Rating:

Overall I was blown away by My Head Is an Animal. Of Monsters and Men show an ability to transform a melody over and over throughout a track, as the band adds numerous wrinkles via its broad instrumentation. Most notably, the band was able to manipulate its melodies and sounds in various manners, adding some unpredictability throughout the album. For example, the increasingly aggressive percussion on “Slow and Steady” transforms the sound, while the omission of drums create depth elsewhere. After embracing My Head Is an Animal, I think it is safe to say that it is time to take note of Of Monsters and Men now, as they introduce their deep indie pop sound outside the small confines of Iceland.

Review: Mirel Wagner by Mirel Wagner - April 3, 2012

kevinlane — Tue, 03 Apr 2012 10:27:53 -0400

For an Ethiopian-born 24-year-old who grew up in Finland, Mirel Wagner sure can sing some old-school American folk/blues. She credits that skill to the fact that while her friends were rocking out to the Spice Girls, she was in the library listening to Skip James, Son House, Jr. and Robert Johnson. On her self-titled debut, Wagner sings of death, desire and the devil with the simplicity of an acoustic guitar, the sincerity of her influences and the depth of an old soul.

Sounds Like:
Son House, Jr., Nick Cave, Hope Sandoval

“To the Bone” opens with slow, eerie finger-picking to set a suspenseful mood. “Your love drags me down / Like the clothes when you swim / Down deeper down / Like the roots of old trees” Wagner sings over single-chord strums. Thought it’s a short and simple track, its haunting feeling gets under your skin instantly and lingers long after the last note fades. She does a superb job of drawing you in deep right from the start of the album, only giving you a taste of her signature style, but enough to pique your interest – no easy feat for an artist with such a dark, different sound.

On “The Well,” Wagner shows off her deftly simple acoustic chops. She also switches her voice from the first track’s deep tone to a softer, childlike one. It’s a fitting transition for the song, which laments “I lean in to the well / Black water, what can you tell? / A shadow swallows my reflection / Mother, I see nothing at all.” Though our protagonist is oblivious, Wagner knows exactly what she’s doing – embodying youthful innocence as it stumbles upon answers that go right over its head. This track is so deep, I doubt Wagner was ever told, “Oh, Mirel, you’ll understand when you’re older.”

Music video for “No Death”

In homage to Wagner’s lyrical honesty, I’m not gonna sugarcoat this: “No Death” gets weird. Necrophilia weird. But while on the surface it seems ghastly, the song’s deeper meaning conveys undying love. As Death slowly creeps in to take the deceased, her stubborn lover tries to protect her, singing “No death can tear us apart.” The song’s guitar picking has a dirge-like sway to it, as Wagner uses bass notes to signify Death’s footsteps making their way toward the dead girl. At the end of the song, Wagner’s voice gets whisper-soft, afraid that the nearby Death will hear. Creepy, but oddly catchy.

And now for something completely different. Wagner gets all happy and sweet on “No Hands.” “I’ve been riding my bicycle all day long / Up and down the old dusty dirt road / Look, Mother, no hands,” Wagner sings over Iron-and-Wine-ish guitar strumming. No profound meaning. No unsettling story. Just the youthful bliss of sun, wind and two wheels. On an album of mostly deep, dark tales, this one offers a welcome, momentary respite of simple nostalgia.

Key Tracks:
The Well, No Death, No Hands, Despair, Joe, Dream

“Red” gets back to the dark side. The devil entices a girl to dance with him, play his game and fall in love with him. Though she’s warned of the dangers, she accepts them and waits for his return. Wagner draws her voice out to create lasting tension. Her steady finger-picking evokes a monotonous, trance-like state, hypnotizing your ears just like ole’ Red puts a spell on the girl. Of course, in his true nature of betrayal, he leaves her in the end: “Those eyes went red / And at the first break of day / My true love went away.”

“Despair” tells a similar tale, only this time it’s not the Devil. Sadness comes looking for a helpless victim, singing “Dance with me till all the stars begin to fall / Dance with me till there’s nothing left of you at all.” And instead of willful acceptance, the song’s character tries to fight back, although to no avail. Wagner’s finger-picking is quick and crisp, while her voice sounds appropriately helpless. It’s such an intimate track, you can hear her fingers move up and down the guitar neck.

Best Lyric:
“Your love drags me down / Like the clothes when you swim / Down deeper down / Like the roots of old trees” – “To the Bone”

“Joe” takes the feeling of despair even further. Over galloping guitar work, Wagner pines with the certainty and sincerity of our unwavering lead character. “I’m going to wash my sins away / An angel told me so,” she stoicly sings, “When they find me in the river / Tell my mother I was a good boy.” Yes, it’s a sad one, but it brings him the relief of no sorrow nor grief: “The birds are signing in the trees / They’re singing for me.”

“Dream” could be a long-lost B-side from the 1940s. It begins with a staccato, bluesy riff, before Wagner’s voice comes in angry yet soft with a touch of distortion. She draws out the verses but speeds up the chorus to interesting effect. “Cause else it’s the truth and that won’t do / And your eyes are full of moon.” This vocal trick adds just enough melody to keep you from noticing that the track’s guitar backing never wavers from the same simple riff.

“The Road” aptly ends with another slow, hypnotizing tale, this time that of a “dead man’s unwedded bride.” A rarity on the album, Wagner uses her voice on this song to approach the most traditional sense of melody. Her staccato finger-picking sounds like a wedding march, only this one isn’t headed to the altar. No, like young “Joe” from a few songs back, she’s following the road to “a lake that’s dark deep and cold,” presumably to join her late groom. Sad but sweet, finite but forever.

Overall Rating:

Mirel Wagner’s self-titled debut is a strong first effort that’s mostly macabre and melancholy. It wins major points for its lyricism, storytelling, thoughtful orchestration and original style, but the bare-bones composition leaves something to be desired, as it can get monotonous. For these reasons, this album will likely polarize listeners into lovers or haters. But whichever side you choose, there’s no denying Mirel Wagner’s potential. She’s both talented and wise beyond her years. And there’s nothing dark or depressing about that.

Review: Port of Morrow by The Shins - March 27, 2012

derekstahlman — Tue, 27 Mar 2012 09:00:00 -0400

Following a five-year absence and new surrounding cast accompanying vocalist and multi-instrumentalist James Mercer, The Shins return with their fourth full-length release on Port of Morrow. Since making waves in the indie scene with 2001’s Oh, Inverted World and 2003’s Chutes Too Narrow, The Shins were the early torchbearers for indie rock. However, anticipation has been building over the half decade following the band’s last release, 2007’s Wincing the Night Away, and I am intrigued to see if Mercer & Co. can live up to their high standard of solid indie rock.

Sounds Like:
Following five-year hiatus, The Shins find familiar indie-pop sounds and heady lyrics

Port of Morrow kicks off with a rapid drum beat and intensity-building bass riff on “The Rifle’s Spiral.” Intricate layering of a heavy bass line, synths, and a light, wispy guitar riff meld into a reminiscent, yet refined Shins’ sound. Mercer’s rich vocals and heady lyrics are also immediately present (“Now your viscera unfurls / as you rise from your burning fiat”). Overall, the high intensity on “The Rifle’s Spiral” is a great opening track after a five-year absence. “Simple Song,” the album’s first single, is a tribute to Mercer’s wife. Verses boast an upbeat 80’s guitar/key riff, against piano-driven choruses, punctuated with sleek guitar upstrokes.

Soft drums, acoustic guitar, and barely-there electric guitar accompany Mercer’s deep lyrics on “It’s Only Life.” In familiar Shins’ fashion, instrumentation is relatively deep on this track, melding seamlessly into the chorus. Catchy, subtle hooks abound throughout the tune. “Bait and Switch” features a quick, guitar-driven beat, and tells a humorous tale of a man bedeviled by his lady friend.

Key Tracks:
The Rifle’s Spiral, Simple Song, It’s Only Life, September, No Way Down, Fall of ‘82

A strummed acoustic and sleepy slide guitars give “September” a dreamy, country vibe. The increased production can be felt on this track, subtly accenting certain lyrics here and there. Mercer’s powerful lyrics help make this one of Port of Morrow’s gems. An upbeat, synth-heavy hook kicks off “No Way Down.” Mercer provides a clever preface (“Meet the son of a government man / and a pillar of salt. / I was born with blood on my hands and have all the signs of a bleeding heart”) before launching into a pro-99% anthem. In a compelling contrast, Mercer eloquently asks tough questions over a blend of bright guitars, synths, and drums: “What have we done? / How’d we get so far from the sun? / Lost in an oscillating phase / where a tiny few catch all of the rays.”

Music video for “Simple Song”

“For A Fool” is slow, bluesy number and finds Mercer fighting his emotions for a woman who has and continues to play him. “Fall of ‘82” is a catchy number, where Mercer professes his gratitude and appreciation for his sister. Instrumentation is deep on this number as well, highlighted by a trumpet and flugelhorn in the bridge.

Best Lyric:
“I finally had all my ducks in a row / Peace and quite by means of subtraction. / How she got in I’m not sure that I know / But two weeks and my spine was in traction” - “Bait and Switch”

An eerie, whistled hook starts “40 Mark Strasse,” a dark tale about the children of German prostitutes living outside an American military base in Germany. Soft, acoustic guitar-centered verses stand in stark contrast against sharp, piano-driven choruses. The title and final track, “Port of Morrow,” kicks off with dark, murky keys and synths. Verses feature Mercer’s falsetto vocals over piano chords and drums. Named after a street sign in Portland the band passes on the way home from touring, this song is dark, twisted tale, inspired by the surreal emotions experienced when returning home from a grueling road trip.

Overall Rating:

At first, I was afraid Port of Morrow would be more Wincing the Night Away than Oh, Inverted World/Chutes Too Narrow. Fortunately, though, Port of Morrow is really neither. Mercer’s exquisite lyrics are as deep as ever. Musically, The Shins continue to implement sounds from other genres and put their unique, indie stamp on it. Mercer’s experience with Danger Mouse on 2010’s Broken Bells also played a part on Port of Morrow’s sound, as the increased production is present, though not overwhelming. After such an extended absence, The Shins were facing the risk of not living up to their own lofty expectations. Fortunately, that is not the case with Port of Morrow, as I feel this is an album that I will further appreciate the more I listen to it.

SXSW 2012 Recap - 3/20/12

kevinlane — Tue, 20 Mar 2012 08:00:00 -0400

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.

Review: Agnostic Hymns & Stoner Fables by Todd Snider - March 13, 2012

derekstahlman — Tue, 13 Mar 2012 09:00:00 -0400

Last year, Kevin reviewed Todd Snider’s live album The Storyteller, in which he said “(Todd’s) albums are good and all, but his live shows are heehaw-larious.” Well, on his new release, Agnostic Hymns & Stoner Fables, Nashville-based Todd Snider lives up to the billing, subtly interjecting laughs into songs that are overly dark and gloomy, heavily inspired by negative effects reverberating through society following the economic collapse. Todd teamed up with bassist/co-producer Eric McConnell, violinist/vocalist Amanda Shrines, drummer Paul Griffith, and keyboardist Chad Staehly to create a bluesy, alt-country sound to accompany dark stories of dark times.

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.

Review: Rooms Filled with Light by Fanfarlo - 3/6/12

kevinlane — Tue, 06 Mar 2012 23:17:00 -0500

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.

February 28, 2012: Reign of Terror by Sleigh Bells

derekstahlman — Tue, 28 Feb 2012 09:30:00 -0500

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.

February 21, 2012: War Dancer by Jesse Thomas

kevinlane — Thu, 23 Feb 2012 01:50:00 -0500

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.

February 14, 2012: Be the Void by Dr. Dog

derekstahlman — Tue, 14 Feb 2012 09:30:00 -0500

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.

February 7, 2012: The Bull EP by The Soldier Thread

kevinlane — Wed, 08 Feb 2012 00:06:00 -0500

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.

January 31, 2012: Something by Chairlift

derekstahlman — Tue, 31 Jan 2012 10:30:00 -0500

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.

January 24, 2012: America Give Up by Howler

kevinlane — Tue, 24 Jan 2012 08:03:00 -0500

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.

January 17, 2012: Today Was Another Day by Winfred E. Eye

derekstahlman — Tue, 17 Jan 2012 09:00:05 -0500

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.