Last Week's Album

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.

At the end of each year, most people like to reflect on the past 365 days and remember the good times. We at Last Week’s Album are no different. So for our Top 10 Albums of 2011 list, we didn’t just pick all the albums we gave 5 out of 5 lighters. Instead, we selected the ones that haven’t just stood the test of time, but have gotten better with each listen. And just to keep things fair, 5 of them are from Kevin and 5 of them are from Derek. So without further ado, here are our Top 10 Albums of 2011.

Derek’s Top 5

5. Fight Less Win More by My Sad Captains

I only reviewed this album in mid-November, but My Sad Captains still find themselves in my regular iPod rotation. Their acute attention to detail and ability to meld guitars and other keys/synthesizers together into extremely pleasing melodies make for some fantastic tunes. Though Fight Less Win More has yet to be out for an entire month, limiting whatever marketing traction can be gained in such a short period of time, their tunes are absolutely solid, and should help the band continue its climb towards indie-rock success.

4. In the Mountain in the Cloud by Portugal. The Man

In my original review, I stated that I was “initially blown away by intricate array of sounds and melodies.” Three and a half months later, little has changed. The band’s first major label release allowed the fellas to spend some quality time on each track, tying up all possible loose ends, and creating a fantastic album. The vocals and vocal melodies are catchy as can be, and the added production value of a major label release really allowed Portugal. The Man to build on the strength of its vocal melodies. Further, expanded instrumentation, including synthesized strings on tracks such as “So American” and “Floating (Time Isn’t Working My Side)” allowed the band to reach new heights. One of my favorite road trips albums, I don’t see this one falling out of my playlist rotation any time soon.

3. Tripper by Fruit Bats

I had minimal expectations for this album before writing my review, yet this album has stuck with me more than most other albums I reviewed this year. Instrumentally solid front to back, Tripper really flexes its muscles in regards to the stories it tells. As noted in my original review, Fruit Bats’ frontman Eric D. Johnson wrote this album based on stories he might have encountered if he had stayed on a train with a vagrant he met. Each track tells a different tale about life on the road, against a rich folk/rock backdrop. Although this album did not reach the masses, I almost fell out of my chair when I heard “Shivering Fawn” during the credits of an episode of Weeds. After months of play on my iPod, I can definitely say that Tripper is a trip worth taking.

2. Helplessness Blues by Fleet Foxes

In my review, I claimed that this album would find its way into many Top Albums of the Year lists… and here it is! This band of bearded Oregonians released their sophomore full length with Helplessness Blues to much fanfare following the critical acclaim of their debut. I found Helplessness Blues to be a solid effort, far away from the fabled “sophomore slump.” Though Fleet Foxes did not stray far from their folk-heavy bread-and-butter sound, the album’s tracks were much more complex and in-depth than their indie-rock cohorts in the Pacific Northwest.

1. Bon Iver by Bon Iver

There was no doubt that a follow-up to For Emma, Forever Ago was going to be tough task for anyone, let alone Bon Iver genius Justin Vernon. However, Vernon showed that he was up to the task with the self-titled sophomore release under the moniker Bon Iver. Though Bon Iver presented many staggering differences from For Emma, ranging from the inclusion of drums, more distorted guitars and, at times, shockingly deep (read: non-falsetto) vocals from Vernon, it was still able to capture some of the intimacy that made For Emma as great as it was. Like I said in my review, Vernon’s expanded instrumentation also allows his songs to reach new emotional heights, as drums, distorted guitars and other instruments allowed Vernon to add a greater intensity to his already intimate music.

Kevin’s Top 5

5. Torches by Foster the People

On my original review, I called “Pumped Up Kicks” the “song of the summer for 2011.” But I was wrong –- this jam went on to become quite arguably the biggest pop hit of the entire year, and rightly so. “Don’t Stop” also made into the eardrums of almost everyone in the U.S. by way of those ubiquitous Nissan Versa TV ads (watch them here and here). Also including standout jams like “Helena Beat,” “Call It What You Want” and “Houdini,” Torches turned out to be much more than just another superficial pop album. It’s a mix of catchy hooks, dancefloor beats and subtly emotional lyrics. And even if the radio and TV made you sick of their biggest hits, you can’t deny that Foster the People can write and record some seriously contagious jams.

4. Bright Lights EP by Gary Clark, Jr.

Yeah, I know, it’s only an EP and not a full-length album. So what? Carrying on in the spirit of Stevie Ray Vaughan and others, Gary Clark, Jr. is the next big Texas blues man. Bright Lights only included four tracks, but it still encapsulates this young gun’s deft guitar playing, expansive breadth of emotions and original style. One song he’s rocking your ass off, and the next he’s ripping your heart out. The title track was so killer, it made it onto a Jack Daniels commercial. So even though Bright Lights is short and sweet, Clark has the chops to keep me coming back time and again, long after my review. He also puts on a phenomenal show at his concerts, and he’s as humble as they come. I know it’s just an EP, but Gary Clark, Jr. is definitely ready for the bright lights. 

3. Circuital by My Morning Jacket

With five albums under their belt, My Morning Jacket honed their sound as well as they ever have on Circuital. As stated in my review, they dropped the lengthy barnburners but still found ways to follow jams where they led in a tighter fashion. “Victory Dance’s” random voice-and-trumpet hook gives way to a groovy track, “Circuital” displays all five players equal time in the spotlight with its everybody-together-now bounce, and “Holdin On To Black Metal” rocks out in silly style with horns and a girl-choir backing. The album as a whole proves that My Morning Jacket haven’t lost their imaginations with age and their ability to bridge unfamiliar sounds has deepened with time. Rock on, brothers.

2. Screws Get Loose by Those Darlins

These girls (and one guy) really blew me away when I reviewed them this year. Not only can they write smart, catchy quips, but they can tear their instruments to shreds (proof of that here). And although Screws Get Loose is just their second album, they’ve somehow already mastered a signature country/garage sound and a palpable group chemistry. Their sophomore effort contained well-crafted Southern indie-rock gems like “Be Your Bro,” “Let U Down,” “Tina Said” and “Boy.” The album as a whole helped them craft their sound and gained them enough notoriety to get “Red Light Love” on a Kia Sorrento commercial. I can’t wait to hear more outta these talented ladies (and dude).

1. GB City by Bass Drum of Death

I wish I could go back to the day I gave this album just 2 out of 5 lighters and give myself a swift kick in the nuts. GB City has easily become my favorite album of 2011, mainly due to Bass Drum of Death’s uncanny ability to fuse garage rock with old-school doo-wop. It’s left their jams ringing in my ears, pulsing through my veins and blaring through my speakers ever since I got my hands on the album. “Nerve Jamming” rocks with beating drums, fuzzy guitar and effected vocals; “Get Found” has sick guitar hooks and punching percussion; and “Young Pros” boasts snarling lyrics and falsetto backing vocals that harp pack to Motown’s formative years. Even the tracks I found difficult to listen to at first have found their way into my regular listening repertoire (“Velvet Itch,” “High School Roaches,” “Spare Room” and “Leaves”). I sure didn’t call this one in my review, but I now take a trip to GB City anytime I can.

So there you have it, kids. We hope you’ve had as much fun reading out albums as we’ve had reviewing them, and we look forward to another year of even more. If you’ve really dug an album this year, we recommend showing the band some love by buying said album as a gift for someone else. After all, what better way to spread some cheer than spreading the music you dig?

What’s your favorite album of 2011? Let us know in the comments section below, our on our Facebook or Twitter.

Gary Clark, Jr. is the kind of musician that makes you wonder Where has this guy been hiding? Fact is, he hasn’t. He’s been honing his blues guitar virtuoso skills right under everyone’s noses in Austin, Texas, the Live Music Capital of the World. And his resume is just as obvious, reading like a step-by-step instruction manual called How To Be Legit: grow up in Austin, meet Clifford Antone, play at Antone’s, meet Jimmy Vaughan, play with Jimmy Vaughan, tour with Pinetop Perkins. The Bright Lights EP by Gary Clark, Jr. is his third indie release.

Sounds Like:
Stevie Ray Vaughan, Stevie Wonder, Ben Harper

The four-song EP opens with the slow ooze of maple molasses on its namesake. “Bright Lights” pours through your pores as Gary riffs on a simple blues rock bounce accompanied by some high hat drums. A sawing guitar soaked in reverb enters the mix, quickly followed by Gary’s smooth vocals. Then the jam flows perfectly into its anthemic chorus: “Bright lights, big city goin’ to my head.” He barely whets our appetite with his solo chops before going back into the verse and chorus, but then he stirs things up with a quick breakdown and a lengthy, tasty reverberiffic guitar solo. He repeats this recipe again with another verse, chorus, breakdown and thick-as-syrup solo that builds to an echoing firehouse alarm over crashing drums. Clearly, “Bright Lights” is the single that’s gonna put this young gun on the map.

Best Lyric:
“Get lost in the city / Trying to find myself / I went up a different person / Came down somebody else” - “Bright Lights”

Next up, “Don’t Owe You A Thang” brings the boogie. The opening riff sets the shake-your-ass pace right from the start, and things don’t slow down a bit from there. Busting, banging, almost-bluegrass percussion pounds its way in, punctuating Gary’s declarations of independence from his baby. “Ain’t got no apologies / Won’t be no fairy tale / Ain’t got no excuses / I’m doing my deal” he proclaims like a man who’s more in love with his guitar than he is with his woman. His wails on his solo with a heavy, squeaky effect that sounds you’d swear could be a harmonica. If this song had been recorded when Black Snake Moan was filmed, they’d likely have used it for the final scene of alcohol, sweat and dancefloor redemption.

                         Crossroads 2010 Live Performance of “Bright Lights”

Gary shift gears completely on the next two tracks, opting for a mellow, live and solo vibe. He finger picks his electric guitar to open “Things Are Changin’” with a quick but chill mood, before switching to a staccato beat spiked with playful hammer-ons. Gary pines about the uncertainty of his future to a lover who doesn’t want to hear his excuses. “Will you listen to me here and now? / Cuz I’ll lay it down simple and plain / It’d be good to get together, Girl / But it’ll be so hard to maintain,” he croons hoping she’ll understand. Her sweet love kept him hanging on for a while, but now he knows he’s better off without her. It’s a smooth R&B number that Gary sings with an emotional depth reminiscent of Stevie Wonder.

Key Tracks:
Bright Lights, Don’t Owe You a Thang, Things Are Changin’, When My Train Pulls In

“When My Train Pulls In” keeps things live, but adds swagger and riveting tempo changes. Gary jams on a bassy, country-ish riff as he laments the unchanging city around him and his stir-crazy readiness for something different. After finger picking for a spell with slight, effortless variations, he breaks into a strumming solo. Yeah, you read that right - a strumming solo. How’s that for turning tradition on its head? You can hear a “Yeah” and a slow faint whistle over the silent sound of a crowd so dizzy they’re not sure what just happened but they know their tapping feet lost track of the beat long ago. Gary expands on the same root riff in seemingly infinite directions with such ease that, if you haven’t already, you realize this kid can effing play.

Overall Rating:

I know that’s a ballsy rating to give an album that’s not even technically an album. But The Bright Lights EP by Gary Clark, Jr. deserves it. What it lacks in length and cohesiveness, it more than makes up for with skill, style and virtuosity. Hell, some are already calling Gary Clark, Jr. the Savior of Blues. And even though most haven’t yet heard of him, he’s about to break through. The Bright Lights EP proves he’s ready to make an entrance, and I’m willing to bet he busts down every door from blues to rock to R&B until everyone knows his name.