18 September 2006

Band Review / Interview
THE SOUNDS
words: larissa quon

Okay, I’ll admit it. The Sounds’ debut record, Living in America has been the perpetual soundtrack for my solitary underwear dance parties for the past three years. Thank god that they just released , their sophomore follow-up with loads of potential for plenty of booty shaking nights. I was able to catch up with drummer Fredrik Nilsson as the band was taking a moment off from a six week US tour promoting the record.



Hi, Fredrik. How’s the tour going?
Frederick: It’s good. We’re only on our second day, but going great.

What was the most favorite show you've played so far and why?
F: When we opened for The Strokes in Mexico City, there were 17 – 18,000 people. Everyone was screaming their lungs out. It was really bizarre!

Wow! You have been dubbed by the press as notorious for your live shows. How do you prepare for getting into this high energy mindset?
F: Drinks. Loud music. We just get pumped up going on stage. We kind of explode. We like doing it so much that it’s just easy for us.

So then, what is the best show you have ever been to?
F: A few years ago I saw this German band, Kraftwerk at Coachella. This is a band I have liked a long time, and live, they are always good. At a rock festival, they really stand out.

You have passed through Austin a number of times now, including the recent SXSW. What is your favorite thing about the city?
F: Austin is a real music city. It’s a crazy city, which we like.

What is this difference between Austin fans and Swedish fans?

F: Austin fans are open-minded. They aren’t scared to see a band like us. Some cities are so conservative. They look at our setup with all our keyboards and size and think, “this is going to be bad,” but not Austin fans.

That’s right! So the new record, Dying to Say This to You has been said to have an edgier sound. How have you guys evolved since Living in America?

F: Living in America was our debut record. We had all the songs written for years, and we had played them so many times. This time we went into the studio with the songs not finished, but we had a long time and could write there. We also wanted to give it a more live sound.

How has your writing process changed since you guys first started out? Is there more or less pressure?
F: Well, there is more pressure, but we don’t feel the pressure. We are pretty good about pressuring ourselves. [Laughs]

Maybe you could name some under-recognized bands that music fans should pay more attention to.
F: Oh, this band from Sweden, The Change. They will have a record coming out in summer. They are a really great band.

information: Band Website

Album Review
ANNABELLA: Songs of Goodbye
(self-released)



RATING: 4 stars out of 5

Songs of Goodbye is Annabella's second record and their most fragile and poetic to date. While the piano-and-drums, husband-and-wife duo from Georgetown TX is closer musically to bands like The Sundays and Mazzy Star, they will no doubt draw immediate comparisons to the Quasi/Mates Of State camp based on dynamic alone. Terri Dittmar's voice, undoubtedly the focus of the record, sits atop a rich and beautiful reverberated soundscape of Rhodes-piano sustain, flute, and soft, distant guitar arpeggios, which together make for a beautiful listening experience.
The production is also a focal point of this record, tastefully adding lush layers of reverbs and vibratos to the record's fabric. Likewise, the drums are organic and sparse, never intrusive. Highlights of this album include La Ciudad, Fading Away, and It Comes Down. Innocent but evocative lyrics help paint a bleak and, at the same time, vivid picture of the author's world, which is sad but not morbid. The album ends with words of poetic insight, "If you conquer this world you will still have nothing, but if you love someone you'll die a hero." With the record's close, these words breathe optimism into the final moments Annabella shares with the listener, as if to say, all of the many goodbyes were worth it.
- franklin morris

Album Review
THE COOTIES: Circle Circle Dot Dot
(self-released)



RATING: 4 out of 5 stars

Equal parts cutesy and icky, the Cooties pull off an intelligent record loaded with quirky charm. These days, words like “quirky” and “lo-fi” are reserved for the “post-elephant-sixers,” releasing bubblegum 4-track recordings with 41 piece kazoo orchestras. This Austin based three piece however manages to express “original” pop sensibility with just guitar, bass, and drums.
From the repetitive, upbeat rhythm of the album’s opener “Ball” to the adorably dark and dirgey closer “Cancer” (one of the high points) The Cooties bounce through an impressively diverse collection of songs showing influences ranging from Beat Happening and Daniel Johnston to The Breeders and Sex Pistols (with The Ramones, and VU in the mix). Vocals are a strong point with Shannon McMahon’s grave and abrasive Johnny Rotten growl complimenting the almost childlike quality of Susan Kokalis-McMahon’s tone. The lyrics are sweet, smart, and innocent without being naive or immature—whether the song is about stars, trees, suicide, or cancer. Even the morose subjects are approached from the same wide-eyed playground perspective as songs about buzzing bumblebees. This is a phenomenal debut contribution and a perfect example of punk influencing pop—not the other way around.
– franklin morris

Album Review
THE BLACK: Tanglewood
(k woo records)



RATING: 4 out of 5 stars

The Black have recently released their anticipated debut full-length, Tanglewood. The Austin-based quartet consists of David Longoria on vocals, guitar, harp, and piano, Andy Morales on drums and percussion, Alan Schaefer on lead guitar, and Nick Moulos on bass. Over the last year the band has toured with ...And You Will Know Us By The Trail Of Dead in both North America and Europe and during that time have grown from their early days to develop and refine their sound into what it is today – steeped in roots like Bob Dylan, in country like Merle Haggard, in West Coast twang like The Flying Burrito Brothers, and in pop sensibilities comparable to the Beatles inviting Pink Floyd over for tea.
The album’s opener “Cell Block” is a fun sing-along pop rock tune leading into the addictively bouncy “Appletree.” The album then shifts slightly towards a more country rock sound and around its middle the record slows in tempo with beautifully hazy and lonesome songs like “One Second To One” and the album’s highlight “Wasn’t It a Good Year?” Towards the end of the album the songs pick themselves up again with some rowdy honky-tonk-blues-rock like the excellent “J.B. Lenoir Street.”
Overall, The Black, have put together a solid recording full of good songwriting and musical performance that’s well worth checking out.
– anatol ziege

Album Review
SUNN O))): Black One
(southern lord)



RATING: 4 out of 5 stars

SunnO))) borrow their namesake from the bass heavy amplifiers of yesteryear and live up to the trademark victoriously. These pioneering experimental/noise artists have crafted an organic, demented, and horrifyingly vivid masterpiece as dark as any H.P. Lovecraft or Aleister Crowley nightmare. By manipulating distorted screams, chaotic guitar feedback and rich (sometimes subsonic) bass tones SunnO))) has birthed a sinister, symphonic soundscape playing out in 7 movements, rather than 7 tracks on a rock record. From it's haunting opening to the record's climactic sixteen minute closer, "Bathory Erzsébet," the album swells as visions of the bleakest, blackest, void consume fearful, unassuming listeners. Black One has, perhaps unintentionally, propelled the band to the top of the experimental/noise genre, a spot they have earned and deserve to occupy. A warning nevertheless: This record is not for the faint hearted. While open minded listeners will be intrigued, even moved, some seeking more conventional rock action may be left asking, "Dude! When do the drums kick in?!"

- franklin morris

12 September 2006

Band Review
AM SYNDICATE
riyl: blonde redhead, yo la tengo, ...trail of dead
words: si lin / photography: jorge reyes

If Magical Realism could somehow transmogrify itself into waves of sound, the music of AM Syndicate would certainly be it.
Their seamless “classically-influenced, acid-addled instrumentation” (High Bias) ignites miniature fireworks in your ears with artful explosions and colorful splashes: lush strings, exotic guitar melodies, tribal drum beats, and trance-like vocals. With thoughtful complexity and delicate brilliance, the group with enough members to fill a chamber orchestra takes inspiration in articulating the human experience as musical. What differentiates AM Syndicate from other cerebral bands is how their passion for the creation of sound comes across on stage. Without exhuding musical snobbery, they seem to crawl inside their vast musical libraries to spark upon some mystical intelligence and creativity that makes them just that more intriguing to watch. The inventive ensemble incorporates violin, cello, guitar, synthesizer, bass, and a host of analog and electronic drums to mesmerize the crowds waiting to soak up every drop of the band’s ghostly ambiance.


They are a great example of organic sound mixed with digital noise, coming together to generate a satisfying synchronization between those dualities. Their debut full length album, Empire, released by Chicago’s Sick Room Records in February 2006, has already generated a stir. It has been deemed “absolutely, astoundingly arresting” by Drowned In Sound, and noted as capable of creating “a feeling that evokes the dry, exotic vistas one might find in a Gabriel Garcia Marquez novel” (Stinkweeds). With Empire beginning to breech beyond regional boundaries, AM Syndicate’s next step is to enchant audiences during the upcoming Wall of Sound Music Festival in Fort Worth to start off further touring in support of the record.
information: Band Website / Band Myspace

Band Review
THE NORMANS
riyl: yo la tengo, t. rex, elliott smith
words: ani v. steen / photography: jade


The Normans radiate some of the most fulfilling songs I have heard in a good long while.
With old time boogie rhythms, transistor radio vocals analogous to T. Rex’s Marc Bolan, and classic and contagious rock hooks, the four-piece brings back that retro charm and seductively glam grandeur. Yet, having successfully nailed down their upbeat facet, The Normans also channel the soothing vocals and strumming guitars of Elliot Smith to express their placidity. These guys might have a slight case of split-personality disorder, jumping from one end to the other on the musical spectrum, but who cares, both sides are great and their deft musicianship creates a visceral set of thrills. The Normans’ 2004 debut release, Dreams of Autocrashes (India Records) plays like a symphonic ode to the two penultimate innovative forefathers and has been praised as a “pop masterpiece” (Smother) and “a great album which you will be listening to time and time again” (Guitar Noise). Since its release, the album has stirred radio attention and, more notably, figured in the 2005 feature-film, My Comfortable Stranger.
information: Band Website / Band MySpace

10 September 2006

Band Review
THE BLACK
riyl: gram parsons, bob dylan, the band
words: john watson / photography: aubrey edwards


Don’t be fooled by the name, Austin’s The Black is neither metal nor goth.
Rather, David Longoria and Alan Schaefer take their love of late 60s and early 70s rock, folk, country, pop and R&B and craft songs that cross and pay homage to all these genres. “Summer in Baden Baden” comes across as an impromptu jam session with Fairport Convention’s twang and a whole lot of maraca. “Wasn’t It a Good Year” evokes Pink Floyd’s A Saucerful of Secrets so thoroughly it would fit right into Live at Pompeii with the addition of some outdated trippy visual effects. “Cellblock” is a poppy blues number featuring R&B piano, jangly guitar, understated harmonica and country-tinged vocals. Working with members of ...Trail of Dead and opening for them may have given The Black a slightly higher profile, but it is not undeserved: The Black’s blend of all things classic makes for thoroughly enjoyable listening.
information: Band Website / Band Myspace

Band Review
GHOST OF THE RUSSIAN EMPIRE
riyl: radiohead, doves, my morning jacket
words: john buglewicz / photography: kara whitten

Austin’s Ghost of the Russian Empire provided me with a cryptically worded biography threatening a “knife to the neck” to those who may act on assumption – luckily I never assume, and I’m modest too.


Something that Ghost of the Russian Empire’s sound isn’t – think Loveless by My Bloody Valentine. I know comparing a band to a record by another group isn’t very cool or original, especially when the record is almost unanimously agreed upon as the greatest indie rock record of the last 20 years, but get bent because Ghost of the Russian Empire really do recall that sound. The sound is large; driving drums, sonic guitars, and the neo-psychedelic vocals that made you enjoy Loveless. They’ve just recorded an EP so soon enough you’ll be able to bring that magic home with you. I suggest you play it the next time you and your girl have one of those “a blowjob isn’t degrading” arguments. Until then you’ll just have to see them.
information: Band Website / Band Myspace

09 September 2006

Band Review
THE OCTOPUS PROJECT
riyl: sonic youth, the notwist, the flaming lips
words: dániel perlaky / photography: aubrey edwards

Appearing on stage with cardboard electric socket masks, the Octopus Project immediately strikes a gentle suspense into the hearts of all as anticipation swells. The confluence of digital and analog machinery stack on top of each other like the downtown tenement highrises of Warsaw bouncing holy sunrays down at a smiling populace ready to let it all go.
The feedback begins to wake from the amplifiers, all systems are ready, and the drumstick crashes down to set off one of the most blissfully overwhelming live shows one will ever see (or rather, feel) and the band leads a grinning audience to some mystical parallel universe.
The music can only be described as some kind of euphoric android orgy taking place in a field on some exotic planet whose sunsets display colours that we’ve never seen on Earth.


The trio of Toto Miranda, Josh Lambert, and Yvonne Lambert assembled their reckless creativity on top of an architecture built of opposing forces - digital vs. analog (or maybe analog making love to digital). Utilizing synthesizers, samplers, drum-machines, guitars, bass, live drums, a theremin, and loads of instruments with blinking LEDs and scraggly wiring that look like they were obtained from a Ukrainian space-program garage sale, the band saulders together elements of progressive post-rock, blippy experimental dance electronica, and the raw, noisy emotion of “human rock.”
After their formation in 2001 and their subsequent release of Identification Parade (2002 Peek-A-Boo Records), the band earned their stripes and battlewounds through exhaustive national tours that further enhanced their live shows and paved the way for One Ten Hundred Thousand Million, one of the best albums of 2005 (nationally speaking).
Currently, the band has been receiving more and more critical praise and have been diligently creating euphorias at bigger and bigger venues across the country making them one of the bands that represents human/machine-kind’s highest potential and expression. Following SXSW the band will kick off a 60-date US tour with stops at four music festivals (including the prestigious Coachella Festival), then will begin recording a third album for Peek-A-Boo Records this summer.
information: Band Website / Band Myspace

Band Review
THE BROTHERS AND SISTERS
riyl: gram parsons, townes van zandt, the mamas and the papas
words: john buglewicz / photo: press

God damn it I love pedal steel guitar! Two instruments possess the possibility to emulate drunkenness, the first is the pedal steel guitar, and the second is the violin. If only there were a band that had both of these instruments…oh wait, how about Brothers and Sisters from Austin?


Yes that’s right, a violin, pedal steel, and lyrics about booze and loss. Plus I should mention that the violinist on the full length is none other than Conrad Keely from ...Trail of the Dead. With a new release on Calla Lily, you can get your 70’s era country fix with a little of that “alt” sprinkled in there as well. Brothers and Sisters, as the name suggests, contains an actual brother and a sister, oh and gents, incidentally, the sister plays an autoharp. No, you’re not mistaken, that is a wet spot on your jeans, and a desire in your heart to drink Lone Star and commiserate with Brothers and Sisters live. The sound strikes me as similar to just about anything Gram Parsons was involved in (Byrds, Flying Burrito Brothers) but there is a bit of The Kinks’ Muswell Hillbillies in there as well. However, I should warn you that listening to Brothers and Sisters will make you grow a beard and wonder why you ever called your Dad lame for trying to force that Nitty Gritty Dirt Band album on you.
information: Band Website / Band Myspace

Band Review
THE INTEREST KILLS
riyl: spoon, arctic monkeys, death cab for cutie
words: joaquin black

The Interest Kills makes pat descriptions of their music difficult. Upon first listening, it seems that their lyrics are much more ponderously serious than their accessible pop songs; however, with time, this distinction blurs.
Not only do their dancey compositions prove themselves to have significant depth, but Diego Garcia-Olano’s songwriting shows moments of surprising lightness and humor bubbling up from his commentaries on the insensitivity and turbulence of contemporary political and personal relationships.


The new full-length Capital Flight starts off with “The In-Between is Ending,” perfectly encapsulating the dichotomy described above. Over a kick and tom heavy dancebeat, Diego Garcia-Olano sings a challenging song decrying the current state of economic inequality and apathy in America. The guitars, which once sounded like a more typical dancerock tone in a live setting, become more foreboding and sinister when paired with a clear understanding of the lyrics.
From this opening disillusioned nadir, the album builds to the closer “Now That You’re Old Enough.” Warmer production on the percussion and an acoustic guitar match the more hopeful mood of the song. The current situation still disappoints, but there’s hope for the future. Both musically and lyrically, this song is one of the strongest on the record and provides a great cap to The Interest Kills’s mature exploration of the stylistic tensions in their music.
Capital Flight will be coming soon on local startup label Stem and Leaf Records, run by Marshall Escamilla of The Unbearables. That release coupled with an increasingly active live schedule including dates around Texas make The Interest Kills one of the new bands to watch out for in 2006.
information: Band Website / Band Myspace

Band Review
VISITORS
riyl: nirvana, the beach boys, the crow soundtrack
words: ani v. steen / photo: matt wright

The local indie-rock quartet, Visitors, exude a quiet intensity. They convey an eerie and unsettling energy in their music that leaves you on the edge with sweetly bated breath.


You won’t be seeing a pompous performance parade with the token end-of-set guitar smashing or any other sweat flying stage tricks with these guys, but I guarantee that you will be sucked in to their undeniable presence nevertheless. Comprised of two musical brothers that blend cyclical harmonies, washes of Rhodes piano and disturbingly wicked guitars, complemented by interlacing, heart hammering bass lines and exhilarating drum beats, Visitors create anthemic melodies soaring in and out of each other. The four-piece creates blinding compositions of explosive textures and mood swings, wearing just enough biting honesty on their sleeves with stabbing lyrics that speak of beautiful breakdowns and deep reservoirs of heartache. Slight coats of dissonance run through these passionate and soul searching mementos, just safeguarding their songwriting from being another lonely batch of love songs for the emo kids. It’s safe to say that in all the brouhaha that saturate their sonic experimentations, these guys have come to learn how to meld just enough rock to balance the roll. Visitors recently made their way into the studio and have recorded seven song thus far with Austinite Rory Phillips, the mastermind behind the production of other local favorites such as Recover and The Rise. The band plans to release their full-length album later this year.
information: Band Website / Band Myspace

Band Review
JUST GUNS
riyl: big star, the pixies, gram parsons
words: john watson / photography: yimay yang


Many a band has walked the line between country and indie rock over recent years, with varying degrees of success.
Austin’s Just Guns manage to strike a balance that will please fans of both Merle Haggard and Death Cab for Cutie. Topher Hyink and George Irwin’s heavy-hearted lyrics are picked up off the floor by their mellifluous guitar, Hyink’s melodic vocals, and especially Phil McJunkins’ glistening pedal steel, which gives the band’s sound an undeniable edge. The rhythm section of McJunkins and Hyink on bass and Brian Reed on drums provides a measured backdrop for not only the more country moments, but also the forays into noisier territory. As Hyink croons that “the waves only wanted to drown me” repeatedly, broken up intermittently by beautiful pedal steel or sheets of cacophonous guitar, on “The Waves,” you’ll want to reach for the whiskey bottle. In a good way.
information: Band Website / Band Myspace

Album Review
The Tah-Dahs: Le Fun
(undeniable records)



RATING: 4 out of 5
Songwriter Roy Ivy has a broken heart and wants the whole fucking world to know it. Le Fun chronicles a lifespan of relationships gone wrong in a Slaughterhouse 5 fashion (equal parts funny and sad). Each track is a quirky blend of SST style post-punk and indie-rock fused with 1950s pop songwriting. They are creative, catchy, melodic, a little neurotic, pop, punk as hell, and always rocking (if you can listen to this album without breaking out the air-guitar you are probably in a coma). Ivy’s nostalgia is contagious, forcing the listener to reflect on past relationships in the same warm-fuzzy, but achingly bittersweet way as watching a John Hughes movie. Pick up this record now. This is the best thing to come out of Dallas in years and embodies everything that Rock and Roll should have never strayed away from.
- franklin morris

Album Review
The Earlies: These Were The Earlies
(secretly canadian)



RATING: 4.5 out of 5
Hailing from West Texas and Manchester, The Earlies’ geographic background tracks perfectly to the band’s unique sonic blend. They craft their neo-psychedelic sound by burying bits reminiscent of ‘70’s AM radio gold in shoegaze drone collages. These Were The Earlies does sequence admirably well for an album assembled from the contents of several existing EPs, but it almost seems as though there would have been more variety the material had been prepared specifically for a full-length. At three or four tracks, the sound stays fresh; but at eleven tracks, it drags the slightest bit, seeming to follow an EP-length cycle a few times through. In the contemporary context of cleverer-than-thou bands building their sounds by cobbling together music geek allusions, The Earlies have achieved the admirable feat of a collage record more interesting and more beautiful than its constituent parts.
- joaquin black

08 September 2006

Band Review
PEEL
riyl: the modern lovers, pavement, elf power
words: si lin / photography: travis higdon


The first time I listened to Peel was like hopping aboard my own little space pod and soaring at light speed through an old school Atari video game setting, where millions of rainbow colored staccato splashes create a jubilant dance-a-thon in my head. Ding. Boom. Score. Did I mention this was drunk space pod driving?
Peel, a relatively young band made up of five member musicians as quirkily different as can be, exudes a little bit of that cute nerd rock appeal. They create delightful pop music that shares an experimental edge. Crafting meticulous metaphors and motives that reflect the lyrics of intelligent minds, they also seem to have a maturity in their instrumentation and musicianship that most collectives find difficult to attain. I’ll go ahead and mention that there are subtle influences of 60s and 70s guitar rock, but this band clearly has a unique visionary scope that stretches beyond such limitations of past sounds. Incorporating loose and harmonious vocals that occasionally explode into psychedelic, screaming freak-outs, electric guitar riffs, playful keyboards, roller coaster synthesizer effects, and the rhythmic jerking of pulsing bass and rumbling drums, Peel reverberates infectious melodies throughout. Having recently joined the ranks of Austin’s Peek-A-Boo Records, Peel will be releasing a full-length debut album in the near future. When that long awaited day comes, Peel will undoubtedly serve as one glorious soundtrack for your a pin ball game where the scoreboard will explode with lighting sparks as you yell “Victory!”
information: Band Website / Band Myspace

Album Review
The Black Angels: self-titled EP
(light in the attic records)



RATING: 3.5 out of 5
I never understood why some genres were associated with drugs more than others. I don't think a truckload of the world's greatest drug could make me tolerate a Phish or Cypress Hill concert. That aside (and this may just be my pop culture conditioning talking) The Black Angels debut EP undoubtedly floods the mind with images of the drug-consumed giants of yesteryear – VU, Stooges, and 13th Floor Elevators. Smooth and flawless vocals lend something disturbingly dark to these songs which are among the catchiest of the genre. While all four tracks are yummy, the dark shrieking choruses of “Black Grease” and the Stones-channeling sitar of “Manipulation” are definite highlights. I find it ironic that the band radiates admiration for BRMC, Brian Jonestown, and The Warlocks. One listen of this EP reveals The Black Angels have more to promise than any of their contemporaries.
- franklin morris

Album Review
Chamillionaire: The Sound of Revenge
(universal)



RATING: 4 out of 5

On his major label solo debut, The Sound of Revenge, Chamillionaire departs slightly from his approach on the 2003 regional hit collaboration with Paul Wall, Get Ya Mind Correct. The off-the-cuff playfulness of that debut is gone for the most part on The Sound of Revenge; it seems that Chamillionaire has decided to “get serious” for his major label review, leaving behind some of his Houston roots much the way Lil’ Flip did on major debut U Gotta Feel Me. His delivery is as great as it always was, and many of the tracks are amazing, but there is definitely a mid-album slump highlighted by the ridiculous “Peepin’ Me,” which is nowhere near worthy of sharing its name with the Fat Pat classic. Great Scarface and Killer Mike collaborations cap off what is, in its moments, the best record from Houston this year.
- joaquin black

Band Review
LOXSLY
riyl: the shins, arcade fire, flaming lips
words: si lin / photography: zach ground


Loxsly’s self-released debut, Maps and Organs, fearlessly displays richly textured and introspective compositions expressed through monumentally vast instrumentation that leave one spinning happily from sound to sound.
Atmospheric vocals that aim to embrace the best of the soft-spoken indie singers (i.e. Ben Gibbard meets Badly Drawn Boy’s Damon Gough) melt into a hodgepodge of twinkling xylophone, multifarious synthesizers, playful piano, effects-laden pedal steel, bass, drums, and intricately interlacing guitars. Loxsly’s musicianship and songwriting versatility is undeniable. It is this group’s apparent cohesiveness that makes this level of collaboration possible.
Check out first track, “San Leon”, which takes the listener on a whirlwind journey that echoes something like a full length “indie-pop-tacular” musical. Starting with dreamlike airiness toying with thunderous bolts of guitars, zigzagging into lighthearted piano riffs conjuring old school standards and milky vocals, the song draws its close with full fledged danceable pop. Showing a true knack for catchy melodies and explosive hooks, Maps and Organs is a prime example of Loxsly’s great instincts for what makes outstanding pop.
In performance, the energetic collective commands the crowd with a playful demand so enticing that there isn’t a still seat in the house. The four member group has the unique ability to perform as a high voltage party band while concurrently elevating and challenging your intelligence. A highly capable group of musicians, Loxsly is poised to be catapulted to their deserved recognition.
information: Band Website / Band Myspace

Band Review
THE MURDOCKS
riyl: nirvana, pixies, the white stripes
words: ani v. steen / photography: dániel perlaky


Murdocks formed in 2003 in a scorching hot public storage unit in Austin, TX.
Over the last two years the band has spent night after night honing their craft – churning out catchy, hook-filled, melodic songs that draw attitude from their punk rock roots and incorporated elements of indie rock, garage rock, and power-pop. With distorted sing-scream vocals, a driving and eccentric rhythm section, and lyrics as innocent as they are morbid, the Murdocks are equal parts beauty and beast.
In 2 years’ time Murdocks have done 5 national tours and 5 official releases, played 200+ shows and sold thousands of records the old fashioned way. The latest of which, Surrenderender, has been met with critical acclaim and national recognition from both press and radio. Keep an eye out in 2006 for 7 inches and continued US touring.
information: Band Website / Band Myspace

Band Review
CLAP! CLAP!
riyl: new order, the faint, the rapture
words: ani v. steen


Clap!Clap! is on a mission. They could have been the spokesmen for that ridiculously awesome light switch invention, but they have chosen another fate.
The group formed in response to a “too-hip-to-be-square world where no one wanst to be dancing alone” and armed with a grand total of ten members, including an impressive clap choir and others that play a grab bag of instruments such as claves, cowbell and trumpet, the musical ensemble is striving to bring forth the primordial action of clapping back into the music scene.
Clap!Clap! command their audiences with high energy and satisfying doses of irresistible dance rock, reminiscent of The Clash and The Faint playing a high school battle of the bands glitter-fest. The group has already conjured a decent fan base, which are sure to be clap dancing up a frenzy at their scheduled SXSW shows.
Information: Band Website / Band Myspace

Band Review
ECONOMY
riyl: aphex twin, ratatat, the postal service
words: ani v. steen


Simon and Garfunkle. Hall and Oates. Jack and Meg White. Throughout rock and roll, legendary duos have been tag-teaming their talents to raise the bar on music’s finest collaborations.
Introducing Landerman and Simons. In the same vein as synth-pop geniuses Ratatat, the twosome behind Economy have been strumming up electronic experiments of their own. The sound of Economy is the winning marriage of analog and digital, combining subtle guitar hooks and solid beats adequately captivating to inspire freestyle flows and provoke some quality booty shaking.


If anyone ever said that there is power in numbers, they have obviously missed out on these two. With enough energy to fuel the Holly Power Plant with their bouncing, leaping, and spinning, this animated duo can be proclaimed the kings of chaos and live action. Economy is finishing up their debut record and are currently planning extensive tours to the Midwest and Chicago areas where they have been gaining some momentum.
information: Band Website / Band Myspace

Album Review
Aster: The Suitcase Sessions EP
(self-released)



RATING: 4 out of 5

Aster, an Austin-based duo named after an imaging instrument on a NASA satellite floating above us, pulls out a huge, layered sound on their debut, Suitcase Sessions EP. This band weaves catchy, melodic indie pop a la The Flaming Lips and even Coldplay mixed with a shoegazer sensibility that brings a more “underground” artisticness to their sound. Though there is only two of these guys, Tim Husmann on drums and keys and Bryan Ellis on vocals and guitar, they achieve their thick sound by building up layers of keyboards, synthesizers, beat machines, samplers and other electronic gadgetry (housed in a suitcase no less). The bouncing rhythms and complex drum patterns keep you moving throughout the album while the reflective lyrics suck you in.
– anatol ziege

Album Review
The Raveonettes: Pretty In Black
(columbia)



RATING: 4.5 out of 5

Known as one of the respected flag-bearers in the garage rock revival of the last five years, The Raveonettes’ sound of a thick, fuzzy, rapid fire speeding motorcycle sexuality recedes somewhat and a confident and defiant fragility emerges in their sound.
Diverging from the sonic approach of their previous releases, Whip It On and Chaingang Of Love, The Raveonettes pull together a diverse clash of influences to craft a beautifully rendered new album, Pretty In Black.
Most noticeably, the band strays from their previous strict adherence to self-imposed limitations – whereas the last two albums featured thick, gritty fuzz and were exclusively written in three chord progressions of B-flat minor and B-flat major respectively, Pretty In Black is a canvas for a wide range of sound exploration.
Founding duo, Sune Rose Wagner and Sharin Foo, add three new members to the lineup and boldly take insipiration from such genres as lonesome West Texas Desert Dust, Souther California Roots Surf, Bent New Wave, Soviet Fuzz on American Disco, and Massive Wall of Sound. Although the album may at first feel a little disconnected given the variety, repeated listening offers a strangely cohesive understanding of the whole and a deeper respect for the quality of the individual pieces.
– anatol ziege

05 September 2006

Band Review / Interview
ZEALE 32
riyl: black star, jurassic 5, dilated peoples
words: andrea valdez / photography: dániel perlaky



In a time when commercial rap is at an all time high, hip-hop artists are often left in the underground. But, many of them prefer their dark, dank surroundings where the fans are true, the music is bumping, and the lyrics are meaningful. Zeale 32 informed this writer about the conscious hip-hop he and other artists representing ATX Records are putting out.
Zeale is trying to step away from topics like rims, cars, and the all-around bling-bling, and bring elements of poetry to his freestyling techniques. Zeale made his start by writing and reading his own poetry. This knack for rhyming so well naturally brought him to a higher calling: Spreading his message through music. He works with ATX Records, located behind Atomic Tattoo on the Drag and owned by cohorts Haps and Mr. Brown, in bringing virtually all hip-hop shows through Austin. If you’ve seen some sort of hip-hop ranging anywhere from Gift of Gab to Del the Funky Homo Sapien, I’m sure it’s been through the help of Zeale and ATX Records.
How long have you been doing this?
I’ve only been at it for two years, which makes lots of other hip-hop artists who have been doing this for eight or ten years pretty angry.
Did you compete in Slam competitions when you wrote your own poetry?
Actually, I started in Slams. But, I haven’t done anything like that in a while. Poetry is a totally different aspect of rhyme and thought. Hip-hop and poetry are different, but at the same time really close; you could say they’re cousins.
How did you start this career?
While riding in a car with some friends we started trying to rap. One of my buds told me I was pretty good and should look into doing something with my talent. I shook it off but, then there was a time in my life where I wasn’t working or doing a whole lot, so I decided to pick up a hobby. I would lock myself in my room and practice freestyling for at least three hours a day. Then, I began battling.
What’s battling?
I hate to say it, but most people know it from “8 Mile” with Eminem where he freestyles against competitors in front of crowds. I traveled to Houston, Dallas, and San Antonio. There was a battle in Houston every Wednesday, so my buddy and I would drive down there every week until we won. We weren’t in our element at all amongst gangstas with gold teeth, but continually going back showed we were there to stay. They had to accept us. I won 25 out of 30 battles.
Are there similarities between battles and Slam competitions?
Unlike with Slams, I’ve been in battles where all I did was talk shit about my opponent. Sometimes, this would get me in trouble. I’ve had guys wait outside to jump me, and one time a guy hit me in the face onstage. So, in that respect, Slams and battles are a bit different.
Do you have a message you want to send to fans?
My message would be to keep creative thoughts alive. Don’t fall into the stream people tell you to follow. Question everything and sacrifice yourself for no one.
information: Band Myspace

Album Review
Eels: Blinking Lights and Other Revelations
(vagrant records)



RATING: 4.5 out of 5
Mark Oliver Everett’s musical avatar Eels has always been known for its depressive sound, and the new double CD Blinking Lights and Other Revelations continues in this vein with a new emphasis on ethereal production. The record presents a varied sweep of lyrical and musical interpretations on the same general themes of loss and loneliness. The second disc begins to develop a more hopeful sound, but even the ligther moments such as “Losing Streak” seem to be delivered with a self-conscious irony supported by the return to melancholy by album’s end. A theme reminiscent of Jon Brion’s recent work scoring films such as I Heart Huckabees, Eternal Sunshine of the Spotless Mind, and Punch-Drunk Love provides a recurring departure point for the genre jumping Everett does throughout the record. The fundamental sound is still simple guitar and piano balladry, but the tongue-in-cheek crowd noise and sampled handclaps on the garage freakout “Goin’ Fetal” and the swirling psych-pop of “Old Shit/New Shit” are notable examples of Everett’s genre-bending. Although most of high points of the album are these departures, the remaining songs are by no means filler; this is that rare contemporary double-album that deserves its length. More than that, the sequencing shows Everett was conscious of the opportunities the album’s opened up to him. There is an album-wide flow and texture here that gives the album a timeless quality that most contemporary albums miss with their focus on encapsulated singles.
- joaquin black

Album Review
For Those Who Know: Self-Titled
(christmas mountains records)



RATING: 4 out of 5
Austin's For Those Who Know’s self-titled debut EP shows that they deserve to be noted among those fueling Austin’s ongoing indie rock revival. Blending British post-punk and new wave influences such as Joy Division with the full tone of American bands of the late-80’s/early-90’s such as the Pixies, For Those Who Know’s sound is quietly dense, layering loud, full guitars with hushed vocals to create a soft beauty. On point and creative drum tracks consistently drive the music forward, with the off-kilter beat of “Perfect” being the album’s high point in this regard. “Night At The Danceclub” and “Grow Old Together And Die” will likely be the two standout tracks, each being more representative of a different branch of the band’s influences. The former has a sparser, more eerie arrangement driven by a minimal drumbeat, while the latter is dominated by its thick guitar sound.
-joaqin black

Album Review
Apes: Baba's Mountain
(birdman records)



RATING: 4.5 out of 5

The Apes from Washington, D.C. have built their reputation on making more noise than a guitar-less band out to be able to. Live, the plodding thrust of their organ-driven psych-metal sound has stayed just as loud and just as powerful, but, in the studio, they have slowly been experimenting with a higher production level and more studio effects. The current pinnacle of this development can be heard on their new release Baba’s Mountain. The noise is still there, but, rather than standing alone, it is now cloaked in full-on psych regalia. The album presents an overarching narrative that takes the listener on a tour of Baba’s Mountain a place inhabited by such fanciful creatures as complicated squirrels and molting exercise crabs. Layered keys and vocal effects round out the brooding creepiness to produce the most engaging record of the Apes’ career.
-jaquin black

Album Review
Ryan Adams: Cold Roses
(lost highway)



RATING: 3.5 out of 5

The first of three scheduled full-length releases for 2005, Ryan Adams’ double CD Cold Roses revisits the country sound of his Whiskeytown days that was largely absent in his two major releases of the last few years, Gold and Rock N Roll. As usual, Adams could have been more disciplined in editing himself here. There is a single CD worth of great material here interspersed among filler that is palatable, but not particularly inspired. “Magnolia Mountain” sets the tone for the album with a shimmering melancholy that is reminiscient of the high production California roots-rock of early 70’s Grateful Dead or Relatively Clean Rivers. “Cherry Lane” represents the album at its best, as Adams jumps back and forth between an updated country-rock sound and his best Hank Williams impersonation.
- joaquin black

Band Review
THE UNBEARABLES
riyl: guided by voices, the apples in stereo, they might be giants
words: ani v. steen / photo: charity ridpath


Like Peter Pans of the musicians pool, The Unbearables aim to hold on to childlike exuberance. In their quest for capturing the kind of happiness that only the days of swing sets and Smurfs can provide, the fun loving quartet fights the demons of adult responsibility with danceable pop that have a “high high sheen on Ramonesian romance” (Austin Chronicle). Happy-go-lucky guitars, catchy keyboards, wildly driven bass and drums, and jangling tambourines set the stage for melodic vocals that consider the bopping tunes of Weezer or The Beach Boys. The four man sock hop group already have an LP, Get Hit, and an EP, Rock, under their belts. They plan to record and release their second promising EP, Don’t, in late Spring of 2006, as well as try their hand at writing songs for a forthcoming Zombie Rock Opera, to be performed in collaboration with local theatre company Loaded Gun Theory in October 2006. The ghastly tracks will be recorded and released shortly after.
information: Band Website / Band Myspace

Band Review / Interview
HOUSEHOLD NAMES
riyl: the beatles, guided by voices, weezer
words: andrea valdez / photography: dániel perlaky

Chris Peters of Household Names live at Spider House, Austin, photo: Daniel Perlaky

Comparisons of this band to the Beatles is enough to make me want to pick up their CD and listen to it. Household Names, originally created by Jason Garcia, has been hailed by critics as the new emerging pop band of the 21st century.
But, in the last year, Jason has expanded his solo project to include bassist Chris Peters and drummer C.J. Barker. My prediction is that this hip trio will have everyone listening to them on the radio pretty soon. With the release of Household Names’ first full-length album “The Trouble with Being Nice” came quick recognition amongst music connoisseurs of Austin. And the band is appropriately named, seeing that they will more than likely become a household name themselves.
How did you begin?
Chris: Jason started Household Names about four years ago as a solo project. The three of us have been together for about a year.
How did you guys meet?
Chris: An ad in the paper. It’s funny how those things work sometimes.
Jason: But Chris and C.J. has been in bands together for the last couple of years.
C.J.: When we first all got together to practice, we just knew it. It was that feeling of, “Yeah, this will work.”
Jason: Now we’re writing songs as a band, and in fact, we are recording our next one right now.
Are you thinking of signing onto a major record label?
Jason: We like to deal with indie record labels. They’re an extension of who we are as a band. They take care of things on a level we couldn’t. Indie bands need some focus so everything gets doen, like music, tours, videos, promotion, etc.
People have compared you to the Beatles. What do you think about that?
Chris: Well it’s flattering! We’re all huge fans of The Beatles. Our songs follow in that same vein in that they are trying to create something unique but remain pop songs, and, in fact, it was the first band that we could all relate to with our different backgrounds. I guess, like the Beatles, we strive to create something original and unique while not straying too far from the familiar convention of good pop.
Jason: Yeah, they were great at cramming some fairly artistic ideas into a three-minute song.
I saw that you guys are a featured band on MTV.com. How does that feel?
Jason: We were excited to be a feature download on MTV.com.
C.J.: Yeah, I think we beat out John Mayer for a little while. That made us feel really good, too.
Where do you see yourselves in the future?
Jason: Well, starting in every Thursday in October, we’re going to be a weekly feature at Bigsby’s. That’s for the immediate future. In the far off future, I want to maintain control over what we release. We want to release our own records and to tour in order to expose our music.
C.J.: We take it one step at a time, but the main goal is to be able to do this music thing for a living.
information: Band Website / Band Myspace

Band Review
THE UGLY BEATS
riyl: new order, the faint, the rapture
words: ani v. steen


In capturing all that is great about well crafted vintage sound, The Ugly Beats is a testimonial to 60s garage rock’s canonical altar. Elegantly wrestling two offsetting guitars, one brightly polished and the other shamelessly bristled, and swirling in colorful Farfisfa organ sounds, vocals mirroring a top-shelf conglomeration of British Invasion frontmen, pulsing and pounding bass, and tight hitting drums, the quintet finely executes melodic hooks that stand the test of time. Their debut album, Bring on the Beats! has been said to nail what’s “right and fun about garage rock revivalism without getting suffocated under the weight of nostalgia” Austin Chronicle. While they evidently are settled in rock tradition (note the ever popular definite article), The Ugly Beats are blasting out of the past and finding a considerable local following that isn’t close to pushing 50. Find out what The Ugly Beats are all about during their live day shows at SXSW, doubling up on March 18th at Flamingo (1pm) and Antone’s Records (3pm), and topping it off the following evening March 19th at Beerland (10pm).
information: Band Website / Band Myspace

Album Review
Decibully: Sing Out America!
(polyvinyl)

Decibully: Sing Out America! CD album art

RATING: 4 out of 5
Milwaukee sextet Decibully’s third full-length release Sing Out America! finally successfully recreates their immersive live experience on record. The band’s roster includes several multi-instrumentalists, and instrumentation changes from song to song. Americana and roots rock influences pervade the album, but Decibully’s identity comes from their additions to these traditionalist foundations. Banjos, harmonicas, acoustic guitars, and lap steel guitars blend with a Rhodes organ and synthesizers to produce a dense, sparkling sound that is equal parts roots and polish. Although the lyrics tend to be overly dramatic, lead singer William Seidel’s vocals pick up the slack with a simple beauty completely lacking in any affectation. The album opens with the immediately engaging “I’m Gonna Tell You.” Here the band follows through every possibility made available by their unique blend of influences and instrumentation. Simple acoustic guitar and banjo passages with almost-whispered vocals give way to towering, swirling waves of keys and samples. The plodding, deliberate beat carries through the dynamic shifts, but in the end gives way to handclaps that set up “Megan & Magill.” Sequencing these two songs in this way to begin the album shows that Decibully has both a refreshingly old-fashioned understanding of the possibilities of the album format and a clear grasp of the inherent contradictions in their sound. After this opening, the album settles in for a collection of solid, but less remarkable, songs. The remaining highpoint is “Sing Out! Sing Out! Sing Out!” which comes the closest to revisiting the power of the album’s opening.

Band Review
GHOSTLAND OBSERVATORY
riyl: daft punk, prince, lcd soundsystem
words: joaquin black / photography: dániel perlaky



Ghostland Observatory is an Austin band igniting a massive explosion. Their dizzying rise over the last few months has seen their transition from obscurity to buzz band. The first taste of watching Ghostland Observatory live will leave no doubt as to why. You will salivate long afterwards.
On February 19th [2005] at Gallery Lombardi, Ghostland Observatory is getting ready to play a private party. Having played in small clubs around town, tonight’s will be the largest crowd in front of which they have ever performed. They move through the crowd with easy anonymity as the opening band plays. Around midnight, they take the stage.
The crowd had been milling in and out of the large bay doors in the front all night, but with the opening salvo of Thomas Turner’s, there was a noticeable surge to the front. By the end of the second song, few remained outside, and the crowd had packed so close to the front that some shared the front of the stage with frontman Aaron Behrens. After the show, the anonymity of earlier in the evening had disappeared. Before even having a chance to strike their equipment from the stage and continually for the rest of the night, the Ghostland guys are swarmed with new fans.
It’s March 31st at The Velvet Spade for at the Fischerspooner CD release party put on by Indierect Music Incubator, Overture, and Capitol Records. It is clear that word has spread. A small crowd quickly swells to well over three hundred in a short time before Ghostland Observatory takes the stage. The word on everyone’s tongue is “Ghostland,” and tonight will be the first show for most of them.
The Ghostland charges with their mixture of electronic dance beats and driving guitars. Turner’s tight, powerful drumming and electronics wizardry give Behrens all the inspiration he needs to wrap the crowd around his finger. He struts and preens. He delivers the songs with enthralling intensity and loosely jokes between songs. Everyone dances. Girls scream and swoon. At the end of a relentless set, the crowd screams for more and presses the stage to ask for CDs, t-shirts, mailing lists, anything.
The phenomenon can only continue to grow. The debut LP, delete.delete.i.eat.meat..., will be available on Indierect Records on April 23rd [2005], but, at press time, pre-orders taken over the Indierect website have already been piling up for a month. The album release party will take place at The Ritz on April 23rd with local psychedelic favorites The Black Angels. The show is without a doubt one of the biggest on the local scene so far this year. Catch this band up close while you still can.

Album Review
Kings of Leon: Aha Shake Heartbreak
(rca records)



RATING: 4 out of 5

On their sophomore release Aha Shake Heartbreak, Kings of Leon have jumped out of the herd mentality of their first release into a sound that they can arguably call their own. Their sound comes from a cycle of 70’s Southern roots coloring 00s hipster influences and vice versa with an implementation on this release that is incredibly tight and well-conceived. Depending on personal taste, the blend of influences may be frustrating at times. There is an opportunity for the Southern raunch to be amplified, but the more contemporary influences dominate the rhythm section on most songs and the leads on some songs as well. Recorded completely live in the studio over a very short session, the album is impressively cohesive and coherent from start to finish. Caleb Followill’s voice may be an acquired taste, but, after a few listens, it becomes an inextricable part of the band’s sound. The lead single, “The Bucket,” is a great rock single and provides an accessible gateway into the more individual sound of the rest of the album. Other standout tracks include “Soft” and “Velvet Snow,” both of which are driven by the kind of Southern boogie choruses that are the band’s strong suit. Already much more popular in the UK than they are in the States and touring in support of U2 in late Spring, Kings of Leon may very well be one of the American rock bands to pay attention to this year.
-joaquin black

Band Review
CRASH GALLERY
riyl: the faint, the clash, joy division
words: si lin


Imagine walking into the hippest party you have ever happened upon. You know the one, where the beer is still cold, there isn’t a line for the pisser, and the band drives the night into dawn with a set of unforgiving energy, demanding an honest match in vigor on the dance floor. It just makes you drunk with happiness. Welcome to Crash Gallery. This recently formed four-piece has already made their mark with the local scene as one of the best new live shows in town. Commanding their audiences with high powered performance, Crash Gallery weaves through delightfully unrestrained vocals, dizzily intermingled guitar and bass, and electric and thunderous beats in a high speed chase of new wave resonance. Having generated label interest, the band is currently considering options as they record their debut album set to release in Spring 2006.
information: Band Website / Band Myspace

Album Review
TheBravery: Self-Titled
(island records)



RATING: 2.5 out of 5

Retro, new-wave-inspired, synth-based dancerock from New York City. Again. The songs are good, and the sound obviously works, but The Bravery’s self-titled debut LP is generally unremarkable. Bands that have had success with this general form have had punchier elements whether the bigger beats of New Order or the more angular guitars of Franz Ferdinand. Put The Bravery with The Killers in the limp-wristed, flash-in-the-pan bin. There are some fun, catchy songs such as “An Honest Mistake” and “Fearless;” however, there’s nothing here that will make you remember that song or this band. This record is good background music for a party, but not successful at much of anything else.
- joaquin black

Album Review
Ghostland Observatory: delete.delete.i.eat.meat...
(indierect records)



RATING: 4.5 out of 5

Ghostland Observatory’s notoriously infectious live energy might not have been so perfectly captured on record by a less capable producer, but multi-instrumentalist Thomas Turner has packed this record with more banging beats and raw sexual energy than any record so far this year. Ghostland Observatory’s debut LP delete.delete.i.eat.meat… powers through a landscape of effects-laden vocals, warm synths, crunching drums, and ethereal guitars. The frantic pacing and variety of the album make selecting a standout track difficult, but “Shoot ‘Em Down” is one song that certainly must not be missed. Singer/guitarist Aaron Behrens purrs the opening chorus over an isolated, slowly bouncing bass line, breaking into the screaming chorus in a transition that carries the same punch listen after listen.
- joaquin black

Band Review
THE BELGRAVES
words: mike jones photography: mike rohal



“The Belgraves will never sell out in any way shape or form. Obviously not or you’d be reading this in Seventeen Magazine. We will continue to write things that we’d like to hear.”
This is part of the statement that Ben, the singularly named Lead Singer of The Belgraves wrote in my notebook after interviewing the band in their unheated cabin on a cold December night deep in the woods of New Braunfels.
Having seen The Belgraves twice previously at Lucy’s, I was well aware of the intensity of their live shows which frequently involve Ben rolling around on the floor, burning himself with cigarettes, diving into the audience, and generally seeking destruction.
At one recent Lucy’s show, Ben broke a banister trying to jump from on top of the speakers to the banister. He ended up landing in the middle of a table full of people including one angry man who wanted to fight him.
Often the madness is not intentional, but merely a byproduct of the music. At one show at the Triple Crown, the band was rocking out a little too hard when Bass Player Danny Smith swung his bass around and knocked Ben out. Ben was convinced he had lost his eye and fell to the ground trying to conceal his disfigurement with his best Jim Morrison screaming impression. Ben added “The funniest part of the show was when people complimented me after the show while I was bleeding all over them.”
Being well acquainted with the craziness of a Belgraves live show, the most surprising part of the interview came afterwards when I took a copy of their new album “The Belgraves Vol. 1” home for a listen. In the next three days I listened to that album a total of twelve times. I was shocked at how good this band actually is beneath all of their insanity.
The Belgraves are hauntingly catchy but not in a poppy sort of way. They’re a band who genuinely succeeds in putting forward the kind of sound they intend to put out. As Ben describes it, “I like to write about real life horror stories from real experiences. I love The Misfits but I can’t write about Lizard Monkey children landing on the Empire State Building.” Although the band cites influences as diverse as Nick Cave, Roy Orbison and Patsy Cline, Horror-Punk band The Misfits are the band they are most frequently compared to simply because of the dark aura surrounding the band. However, they are very difficult to classify simply because like any great band, their sound is completely unique.




A lot of what is called “punk” these days tends to be weak and sappy, it’s basically pop music written by people who are too lazy to learn to play their instruments. Most of the bands out there that try and revive the old true punk attitude end up sounding merely like re-incarnations of older punk bands. Not so with The Belgraves, their sound is fresh and original and unique to them. Smith adds “Punk is a state of mind.”
The vocals are rough and distorted and sound as if they’re being shouted by a robotic drill instructor. The sound is very grounded but extremely intense, almost as if someone truly un-bottled all the aggression and attitude the band puts into its music, it would destroy everything in the room. The music is harsh, dark and heavy but clear and decipherable (unlike hardcore or metal). It’s the kind of music that makes you want to throw a garbage can at the bouncer and pick a fight with the nearest fraternity.
What’s hard to believe about The Belgraves is simply that they’re so unknown. I can say with a straight face that their album is the best punk album I’ve heard in years but they have trouble even booking shows in Austin because they don’t know the right people.
A lot of the reason for this is simply because they haven’t played many live shows outside of San Marcos. Also, their new album is their first decent release. Their prior demo “Activated” wasn’t very well produced and had a terrible sound quality. The energy was there but the music wasn’t complete like it is on this album.
The Belgraves have been around for three years and include brothers Brandon and Barrett Read (Brandon is an ordained internet Reverend. Bass Player Danny Smith adds “He’ll marry you, bury you, absolve your sins, whatever.”) who met Smith and Ben at New Braunfels High School.
The band has no immediate plans for glory on a major label with Ben explaining “I wouldn’t want to be on Fat Wreck Chords or Epitaph or labels like that.” However, Danny took care to add “But we’re kind of broke right now so someone give us a call. If someone wants to sign us, I’m an English Major so I’m not gonna have a job.”
Limited copies of “The Belgraves Vol. 1” are available at Sundance Records.

Album Review
The Mars Volta: Frances the Mute
(universal / gold standard laboratories)



RATING: 3.5 out of 5

Having come out of the El Paso band At the Drive In that also spawned Sparta, The Mars Volta has followed a wildly different path. Although some of those loud indie rock roots are still present, their sophomore effort Frances the Mute delves even further into the experimental interests first set out in De-Loused in the Comatorium. The album is a manic mixture of psych, electronic noise, prog, and even some metal guitar leads. Bixter-Zavala’s screaming vocals weave eerily in and out of the mix as the band wanders through a collage of sonic ideas. The album is separated into five tracks, but only “The Widow” can be treated as a “song” in the traditional popular music sense. The lack of organization is the album’s main weakness; even obvious reference points such as Can provided more coherent compositions.
- joaquin black

Album Review
Magnolia Electric Co.: What Comes After The Blues
(secretly canadian)



RATING: 4 out of 5

Led by Jason Molina of Songs: Ohia, Magnolia Electric Co. has played as Molina’s touring band for the past two years. After last year’s live release Trials & Errors, What Comes After The Blues is the band’s first studio album. The album was recorded live over the course of three days, and the result is the kind of warm, intuitive understanding that can only come from a band that has played and toured relentlessly with one another. An obvious conceptual comparison can be made to the fusion of country and roots rock that has inspired Neil Young over the course of his career, but the sound is fuller with a larger band and dueling male and female lead vocals on most tracks.
- joaquin black

Album Review
...And You Will Know Us By The Trail Of Dead: Worlds Apart
(interscope)



RATING: 3.5 out of 5

The release of Trail of Dead’s Worlds Apart has met with immense praise and venomous attacks with little middle ground. As with most things, the truth lies between the extremes. Trail of Dead has steadily made the transition from the Austin indie fringe to the national major label mainstream. Most of the criticism seems founded in resentment towards this transition. Worlds Apart is their most accessible album to date, but it is no compromise. This release represents some of the band’s most complex compositions. The first half of the album, including “Will You Smile Again for Me” and the title-track, builds nicely into the climactic “Caterwaul.” The second half collapses into confusion at times, but is pervaded by beautiful moments. Worlds Apart may not be Trail of Dead’s strongest release, but the weaknesses involve great ideas that bode well for the future. An album that explores these ideas with the clarity of a “Source Tags and Codes” will be phenomenal.
- joaquin black

Album Review
Mastodon: Leviathan
(relapse records)



RATING: 4.5 out of 5

Metal has unfortunately developed into something of a joke for most contemporary music fans, mostly as a result of the proliferation of radio-ready “heavy” genres such as rap-rock and nü-metal over the last few years. True metal, however, is neither as limp-wristed nor as brainless as its recent bastard progeny. Mastodon, from Atlanta, is at the vanguard of contemporary metal bands that don’t suck. Their recent release Leviathan, a metal concept album paralleling the story arc of Herman Melville’s Moby Dick, is an enormous record, an amazingly loud behemoth of crushing precision chords that can make your head hurt with its dizzying rhythms and shifting, unconventional time signatures.
- Joaquin Black

Album Review
The Unbearables: Get Hit
(stem and leaf records)

The Unberables: Get Hit album cover art

RATING: 3.5 out of 5

The Unbearables combine 60’s British Invasion and garage melodies with a punk energy to produce their danceable, poppy sound that has developed a loyal following around Austin. Their debut LP, Get Hit, presents the songs upon which The Unbearables have built their following in a tightly produced package. Depending on the track, Marshall Escamilla and Ian LeClair trade lead vocals duties, the blend of LeClair’s scream-singing and Escamilla’s smoother tone being one of the immediately noticeable trademarks of the band. The rhythm section, Tim O’Connell on drums and Harrison Speck on bass, provides a persistent bouncing beat as a backbone to this relentlessly danceable album.
- Joaquin Black

Album Review
Low: The Great Destroyer
(sub pop)



RATING: 4 stars out of 5


Now over a decade into their career, Low from Duluth, MN has developed an identity as an almost truly unique, a seemingly impossible accomplishment given the fundamentally self-referential character of popular music. Easily, the slowest band of the “slowcore” genre, Low has built its strong reputation on its stripped down, minimalist sound. Perhaps Low thought they had begun referring too much to themselves. On The Great Destroyer, they break with their formula. The new release will not necessarily be an instant favorite with existing Low fans, but the newly active instrumentation and tighter pop song structures should bring a new audience to this highly deserving band.
- Joaquin Black

04 September 2006

Album Review
Phoenix: It's Never Been Like That
(astralwerks / emd)



RATING: 4 stars out of 5

This French group has been making elevator Muzak to dance to for ten years now, and on their third album they’ve decided to shake everything up, yielding their liveliest and most enjoyable album yet. Recorded in a series of first takes, with the emphasis less on programmed beats and synth flourishes and more on guitar and live drums, Phoenix has discovered a new band hiding under those ashes, one that sounds an awful lot like the Strokes. “Napoleon Says” and “Consolation Prizes” are slinky come-ons made irresistible by Thomas Mars’ croon, “Long Distance Call” is destined to be another club smash, and “Sometimes In the Fall” is a true hands-in-the-air anthem. Never before has loosening up made a band sound so tight; your DJ and your dentist agree.
-sean o’neal

Album Review
Messer Chups / crazy price
(ipecac)




RATING: 3.5 out of 5

Mike Patton’s Ipecac label has a reputation for releasing music that is, by conventional standards, pretty far out. With that in mind, if Ipecac were to put out a “surf” album, it would stand to reason that the album would be laden with more Theremin than you can shake a stick at and would have a version of Hungarian song that, according to legend, was responsible for at least 17 suicides.
Russia’s Messer Chups’ latest, Crazy Price, fits the bill. Surf guitar, rockabilly bass, vintage synthesizer, an organ, and samples from sci-fi and horror flicks all figure prominently into their sound. With full horn sections, harp, scatting and hip hop beats rounding it all out.
Some cuts (“In 3 Minutes Till Massacre,” “Gangster They Called Horizon-Man”) lend touches of surf and exotica into beat driven electronic numbers, while others(“Satan Jeans,” “Ghost Rides To West”) are total retro surf and psychobilly numbers with samples and electronic flourishes. In fact, it is often difficult to ascertain what is live instrumentation and what is sampled. However they did it, Messer Chups have crafted an album just like an amazing B-movie: despite its flaws, it is weird, enchanting, and will keep you coming back for more. Far out, man.

- john watson