Tag: album review
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Courtney Barnett Gets Real on ‘Tell Me How You Really Feel’
The start of Courtney Barnett’s sophomore album, Tell Me How You Really Feel, sets the scene for the chaotic, emotional turmoil to come with the words, “Take your broken heart / turn it into art.” While this first track, “Hopefulessness,” seems to drone on upon first listen, with its slow rhythm and monotonous vocals, it later becomes evident that each layer of the album serves a unique, intentional purpose. While “Hopefulessness” certainly doesn’t shine as a standalone track, it succeeds in easing the listener into the ups-and-downs that come throughout the collection.
In many ways, Tell Me How You Really Feel shows a maturation of Barnett in all aspects. Although the album is contradictory, uncertain and self-conscious throughout, her unflinching dedication to expressing her fears and vulnerabilities continually sets her apart as a daring, introspective artist. Her anger and frustration get the best of her in “Nameless, Faceless,” with the track serving as a nod to Kurt Cobain and a simultaneous jab at double standards in gender roles with the lyrics, “I wanna walk through the park in the dark, men are scared that women will laugh at them / I wanna walk through the park in the dark, women are scared that men will kill them.” Her anger reaches its peak in the explosive “I’m Not Your Mother, I’m Not Your Bitch,” with impassioned, infuriated screeching vocals. This frenzied, aggression-ridden track is uncharacteristic of Barnett’s typical style, but displays a unique versatility reminiscent of the White Stripes.
But it’s not all anger and aggression; Barnett continuously illustrates herself as both poignant and empathetic. In “Need a Little Time,” she’s apologetic, level-headed and self-reflective. Her exasperation with both herself and those around her is a refreshingly relatable contemplation. She continues peeling back her layers, up until the tender final track, “Sunday Roast.” Ending the chaos of Tell Me How You Really Feel with a softer, more loving piece leaves the listener with a welcome sense of calm after the myriad of emotions expressed.
Overall, the unexpected irrationality, self contradictions, and internal battles found in Tell Me How You Really Feel are what make the album so appealing. While Barnett shows her self-conscious side throughout, her creative arrangements, hard-hitting vocals, and fearlessness in self-expression portray a confident, unapologetic artist. The track “Crippling Self Doubt and a General Lack of Self-Confidence” puts it all out there, displaying an unwavering vulnerability largely uncommon in today’s world ridden with Instagram likes and filtered selfies. And it doesn’t stop there. Like most of the tracks on her newest album, “Crippling Self Doubt and a General Lack of Self-Confidence” switches its tune. Just as you think Barnett is full of self-loathing and despair, she lifts the mirror and quickly points out the faults of whoever hurt her (and by the looks of it, someone hurt her). Lesson to be learned from all of this? Don’t f**k with Courtney Barnett. Nobody’s perfect, even her, but if she’s a woman confident enough to put her insecurities on display for the entire world to see and come across this strong, then there’s no telling what else she’s capable of.
Meet The Next Generation of Athens, GA Music Scene
Boasting R.E.M., the B-52’s, and the Drive-By Truckers, it’s no secret that the Athens, GA music scene has a rich history. The Music Business Program housed within the University of Georgia—just steps from downtown Athens—is continuing this tradition, now raising much of the next generation of this local scene.
“We try to take people from a standpoint from ‘Who am I?’ to ‘Who I am,'” said David Barbe, director of the program and successful musician in his own right. Much of this development culminates in the final project of the program, a music business microcosm in which each student assumes a role in music business such as artist manager or publicist.
Many students choose to take on the role of artist, and thus are required to release music—with cover art—and promote the release. This year’s projects paint a hopeful picture for the already well-established Athens scene, with 17 new releases from local bands and artists.
“So far, I would think that it’s arguably the best ones we’ve ever had. There are more of them, they are more varied in style, and the quality of the real standouts is really a level up. It’s been the most musically diverse,” said Barbe. “We expect rock bands and we expect rappers, but we’ve got Annie Leeth‘s tripped out electric violin project, we have Eric Dowler‘s album of World War I era songs, and there’s satirical rap… It’s been all over the map, which is great.”
Some of these artists, just weeks after release, are already clocking over a thousand streams and seeing revenue from downloads—an impressive feat for what started as a class project. Check out the following up-and-coming artists from the Athens scene:
Conner Brooke Dryden has the vocal chops to fit in the current country music scene without having to succumb to the over-produced country pop plague that seems to be overtaking the genre. Her single “Something Beautiful” is straightforward in instrumentation and honestly doesn’t need much else—Dryden’s clean vocals are the star of the show, as they should be. Check out the single on all major streaming platforms.
Logan Brammer’s “November Night” is a nice, nostalgic track. It’s kind of calming and seems to have some Beatles influence thrown in there. I will say, this is the only track that totally got stuck in my head for like, hours after that first listen—the chorus is that catchy. Definitely didn’t mind. You can find “November Night” on bandcamp.
If you’re not the electronic-instrumental-meditation-music type, Annie Leeth’s new EP “Heard” might just convert you. It’s super ambient and vibe-y, but what really shines is that Leeth seems to seriously know what she’s doing with a violin—both technically skilled and able to get the instrument to make sounds that I’d guess many haven’t heard it make before. This isn’t run of the mill, classical studying music… it’s a whole new beast. You can find “Heard” on the major streaming platforms.
Property of Bolton have taken the classic rock band setup and done it well, with a darker sound that’s simultaneously groovy and gritty. The group’s EP, “Epicycles,” is so well done that it’s hard to believe this was done for a school project. The separate pieces of each track flow so cohesively that everything feels intentional—like the group has a solid grasp on what they’re going for and are not afraid to go for it. Check out “No Faith,” not just for the ripping lead guitar but also the line “I ain’t got no faith in the government” because, relatable. Check out the EP on bandcamp.
Josie Smith’s “June” is short and sweet. Her vocals are sweet, the premise is sweet—and it shines in this simplicity. The track is a good example of how music doesn’t have to be so heart-wrenching, so complicated to still be great. The release seems to be just a taste of what’s to come from Josie, and you can check it out on bandcamp.
Eric Dowler’s “When The Boys Come Home” is cool in that it’s hard to find anyone else, let alone a 20-something student, doing this right now. It’s clear that Dowler is dedicated to his craft as well as doing his historical subject justice. The album definitely gives an interesting insight into World War I, giving a musical perspective that one might not get from a casual education in the subject. You can find “When The Boys Come Home” on bandcamp.
Darsana’s latest indie-pop EP “Heartless,” is pretty chill, to put it simply. Definitely recommend checking out the opening track “Callouseer” and the title track “Heartless,” both of which seem like great easy-listening, on say, a lazy weekend afternoon or something along those lines. You can find “Heartless” on bandcamp.
Guest House’s latest release, “Sleep,” is intriguing. It’s not quite something to study to, because it definitely draws you in and makes you want to listen, but it would fit in well in a coffee shop setting. For some reason this felt super visual—like, listening to it actually triggered my brain to put together a full indie-movie montage. Some music just does that, I guess. Guest house makes you think, in a good way. Check it out on bandcamp.
There is a line between experimental in a cool, enjoyable-to-the-ear way and experimental just for the sake of being weird, and Sephine has found the balance. “Computerforest,” Sephine’s latest release, sounds like the kind of music your cool (but not snooty) indie acquaintance would casually throw on, spurring you to spend weeks trying to figure out how to ask who the band is without sounding lame and uncultured. The release is almost ethereal at times, until that funky sax kicks in or Anderson starts chanting. A personal favorite would be “Discothèque,” because the track is just kind of funky and definitely unexpected. You can find Sephine on bandcamp.
Rebekah Martin’s piano track “Tightrope” makes for great study music in that it has a nice melody that’s not too overpowering. There’s this near-constant buzzing, which seems intentional but regardless of if not, the juxtaposition between that and the piano totally works—the roughness of the buzzing keeps the piano from being too buttoned-up. Again, being just one single, this seems to be just a taste of what’s to come from Martin. You can find the track on her bandcamp.
Whether you’re a fan of “Xanax Culture” or seriously annoyed by it, you need Xanny P in your listening lineup. For satirical rap, it’s surprisingly well produced and the character that is “Xanny P” is hilarious (and cultured, apparently. Check out his ‘gram if you don’t believe me.) The guy is already packing out the Georgia Theatre rooftop and spreading like crazy via word of mouth. Plus, it’s #Dartyszn, ya’ll—never a better time to check him out on all major streaming platforms.
Punk rock fans, PNK is for you. I’d say he falls in more of an early Green Day vein than say, Blink, in a rip-roaring, high speed—and never slowing down—kind of way. His latest single, “Sitting on the Bathroom Floor” is gritty, high-energy, loud and a fun listen from the first note. (Also a fun fact—PNK’s Tyler Peters played a part in the production of quite a few of these releases. Three cheers for having multiple skills!) You can find PNK on all major streaming platforms.
Elrod’s self-titled EP has definite outlaw themes throughout, with an interesting mix of generally acoustic instrumentation and her almost-bluesy vocals. It’s cool in an imperfect, rock ‘n’ roll kind of way. All of the separate pieces are great, but there are definite shining points in her harmonies and the lead guitar. For some reason, I immediately thought of Cheyanne Kimball’s solo album while listening to this, but haven’t quite figured out why yet. Anyway, check Elrod’s self-titled, currently out on Soundcloud.
Friday Highway’s latest release “I Told You/Rearview” gives major early 2000s singer-songwriter throwback vibes… but at the same time, it’s also the teeny-tiniest bit reminiscent of popular Red Hot Chili Peppers hits. Anyway, it’s interesting, and definitely in a good way. I’d recommend checking out “Rearview,” as it’s well done and the bridge takes an unexpected twist that keeps you on your toes. You can find Friday Highway on most major streaming platforms.
Kaitlin Kimsey, Jake Mappes and Jesse Inglima
This trio released a killer studio series covering Elton John and Guns N’ Roses. Each of the three musicians involved are seriously talented, so it makes sense that putting them together would yield a couple of great tracks. Kimsey’s rocker belt pairs perfectly with Mappes’ keys, making me wish the group had a couple of originals to check out. You can find the studio series on Kimsey’s Youtube and Soundcloud, or check out all three musicians in local Athens band Fake Mister.
Alright, so Garet Skipper’s latest release “Lies!” does not sound like it was made by some college student for a school project. This is well done. The track almost falls in a dream-pop vein, but not in an over-hazy bad way. It’s upbeat, fun, and so perfect for summer nights. For fans of, say, LANY, this is a definite recommend—actually, this sounds on par with some of the music the aforementioned group was putting out when it first started successfully touring the country, so there’s that. It’s so… marketable. Check him out on all major streaming platforms.
Lapetz’s latest single, “Time Lines,” is super simple and straightforward in composition, but it works. The narrative he’s rapping is interesting, it flows well and the refrain is catchy—Lapetz doesn’t really need a bunch of bells and whistles to make the track interesting. In a landscape where over-produced, dolled-up tracks seem to reign supreme, this release is refreshing. To listen to the single, or his EP “Early Works,” find Lapetz on bandcamp.
The Voidz: ‘Virtue’
How does Julian Casablancas want to be remembered? It’s been 17 years since the release of The Strokes‘ Is This It, and I think Julian is finally a little tired of being a Stroke. I never thought that I could have typed this sentence, but I also didn’t ever expect to be this taken aback by a new VOIDZ album. I should have realized when they dropped Julian’s name from The Voidz, I suppose. “Oh, I guess they want to be a real band instead of just a side project” is how I thought about it. And after listening to “Leave it In My Dreams” for the first time, I just kept on thinking about how it only sounded like the Strokes for about eight seconds. But then we got to “QYURRYUS”. WHAT AM I LISTENING TO? WHAT MAN IS THIS? How was this the man that gave us “Last Nite”???
Indeed it is. And he does not give a DAMN what you expect. Where the previous Voidz album left me looking for something more melodic in the waves of super compressed noise, Virtue instead reigns in the noise of its predecessor Tyranny and brings us almost an hour of new jamz (sorry, the z is going to come out a few timez here) for us to wrap our heads around. Ostensibly at the forefront of the main creative process of the Voidz as a whole, this could be one of the biggest creative flexes of Julian Casablancas’ career.
It seems pretty hyperbolic once it’s all typed out, but the sheer amount of genres he crams into nearly every song (and successfully, in my humble opinion) is pretty staggering. Be it the schlocky ’80s hair metal guitars in “Pyramid of Bone” or the ’00s pop piano and hip hop influenced drum sounds on “ALieNNatioN,” or the downright Latin sounding percussion on “All Wordz are Made Up”—and how he uses the vocoder to essentially change the key signature on “Wordz” in the second half—Julian feels in control. Does he make it look easy? You bet. I don’t even know if they can play all of these songs live, since theres so impossibly much going on at once.
Right now: Forget about a legacy. Do you feel it? Is that what rock and roll feels like in 2018? Does it even really matter? Julian Casablancas knows what he’s doing. By some strange coincidence he’s decided that no, he’s not done. This timeline is real weird, but at least our boy still has some jamz in him.
8.5/10
Decemberists: ‘I’ll Be Your Girl’
Veteran indie rockers The Decemberists, helmed by frontman Colin Meloy, officially released their eighth full-length album I’ll Be Your Girl on March 16th, and while it showcases Meloy’s enchanting vibrato and occasionally conjures a vaguely maritime aesthetic, it veers off-course of traditional Decemberists material in most ways. The band utilizes milky, spacey synths on several songs, and “Severed” in particular revolves around a pulsing synth line that sounds like it belongs on a late-night club DJ’s playlist.
I’ll Be Your Girl marks some stylistic changes for The Decemberists, but overall results in feeling a little lackluster compared to earlier releases–“Starwatcher” is particularly dull, failing to commit to either an ethereal minimalism or dense excitement, and Meloy seems to have adopted a penchant for repetition, singing “everything” so many times in a zealous bouncy melody on “Everything is Awful” that you might find that you hate the word when it’s all over. But this is a common thread on the album: upbeat, buoyant melodies with track titles of “Everything is Awful” and “We All Die Young.” Meloy shines in his dark songwriting, choosing his first words of the album “oh for once in my life / could just something go / could just something go right?” on opening track “Once in My Life.” His gloom hovers above sugary instrumentals throughout the album, straying from the epic journeys of folklore often employed as The Decemberists’s lyrical content (we never actually learn why everything is awful, but it seems like a summary of what Meloy is trying to express on I’ll Be Your Girl). On “Tripping Along” he sings “what I would do to lie with you, die in your arms” and on “Sucker’s Prayer” “I want to love somebody but I don’t know how / I want to throw my body in the river and drown.”
The Decemberists make sure to incorporate enough of their signature bizarre ear-catchers on I’ll Be Your Girl, like the high-pitched “na na na na na’s” on “Your Ghost” or the children’s voices on the chorus of “We All Die Young,” anchors to their off-kilter image as they experiment elsewhere on the album. The latter has a big-band, Western feel, with a featured saxophone, stomping and clapping, and a sonorous chorus. “Sucker’s Prayer” similarly contains prominent, saloon-ish piano lines and has a rockin’ guitar solo to boot, a dramatic shift from the ’80s-era synths that characterize the beginning of the album. The Decemberists slow it down on penultimate track “Rusalka, Rusalka / Wild Rushes,” an eight-minute apocalyptic epic reminiscent of their most popular material; oozing with drama, it swells gradually, solidifying itself as the most rewarding track of I’ll Be Your Girl, as it sticks out from its preceding short tracks which often leave you wanting more.
Overall, I’ll Be Your Girl is not an album that will make waves, but is a solid addition to an 18-year-old band’s discography. Colin Meloy still has his beloved chops and is rife with poetic ideas, and doesn’t seem to be slowing down anytime soon.
Nap Eyes: ‘ I’m Bad Now ‘
Upon first listen, Nova Scotia, Canada natives Nap Eyes‘ I’m Bad Now felt like nothing but a snarky stoner’s revelry. Too zonked or tired out to outgrow the comfortable Loaded era Velvet Underground, Nashville or SoCal instrumental trappings, the album on first listen quite frankly felt very flat.
Oh, how wrong I was.
Like an unglazed clay pot viewed at first from a distance, Nigel Chapman’s rich lyrical details reveal themselves like thoughtful patterns carefully etched into the surface with a surprising amount of attention to detail and clarity upon closer inspection. Chapman’s lyrics, delivered with a Lou Reed-meets-Steven Malkmus-esque dry listlessness serve as a pitch perfect contrast to the weighty album themes of existential meaninglessness and sadness.
In the hands of a less capable songwriter, these musings would have just come off as some stoned pseudo philosopher with an acoustic guitar in one hand and a lit marijuana cigarette in the other. The dry delivery of such heavy themes is beautifully on display in the song “Every Time the Feeling”:
Oh I can’t tell what’s worse
The meaninglessness
Or the negative meaning
I figured out a way to get on with my life
And to keep on dreamingEvery time the feeling comes
You never question why
It comes to you this way
You say you never get an answer that way
But then you wonder anyway
Just you don’t really think about it
And you don’t really try to figure it out, out
Nap Eye’s lilting instrumentation provided by Brad Loughead (lead guitar), Josh Salter (bass), and Seamus Dalton (drums) also provide a deft and wonderfully understated backdrop. Unburdened by the need to flex too hard on their technical chops (even though they’re all fantastic players) they focus more on providing necessarily a sunny sonic color palette. Because of this, even Nap Eyes’ bitterest pills go down nice and easy.
As if they were borrowing from Of Montreal‘s playbook of pairing their darkest, most morose subject matter, Nap Eyes make even the depths of their low key existential dread feel like easy listening. Maybe that’s why it took me so long to get into the lyrics, when I think about it. “Easy” digestion is the name of the game here. I’m not to say that any of this was easy or slapped together, though. Nap Eyes just happen to make it look effortless.
7.9/10
Review: Blaenavon – ‘That’s Your Lot’
Today is a good day, because 1) it’s the weekend—TGIf, folks—and 2) Hampshire, England-based Blaenavon is dropping their debut album. That’s Your Lot, via Transgressive and Canvasback, is produced by Jim Abbiss (Arctic Monkeys, Adele) and is five years in the making.
Blaenavon released a few EPs after their very first single “Into The Night” hit ears all the way back in 2013. Since then, fanbase and anticipation for the trio’s debut LP have been steadily growing.
“That’s Your Lot is five years of our lives condensed into 59 minutes of yours,” said singer/guitarist Ben Gregory in a press release about the album. “Youth, capriciousness, duality, duplicity, love, bitterness, fate. Songs from the human core: some malleable, long considered—others pure, direct, cruelly honest. An album to bathe in and appreciate the inevitable end.”
The Tracks
“Take Care” serves as an upbeat introduction to the band if you haven’t met their sound before. They’ve performed it live a lot, and if the energy in the recording is any indication, the live version must be a party.
“Let’s Pray” takes you on a heavy lyrical journey. While the words may be somber, the refreshing honesty and energetic sounds come together in a balance of emotions. After belting out a few rounds of the words “let’s pray for death,” the band draws you into a chorus of “ooh’s” that will have you singing along in no time.
“Orthodox Man” may be the third track on That’s Your Lot, but it’s Number One in our hearts and hotbed of catchy melodies. Get ready for a groove of a bass line, because its presence is felt throughout the whole song. The repetitive lyrics in the chorus add to the catchy factor—it’s no wonder the band released it as a single. It definitely got us all pumped for the rest of the album.
From one headbanger to another, we move into “My Bark Is Your Bite.“ The guitar riff from the kickoff sticks with you and makes this song another contender for catchiest track. Conceptually, it’s also a winner. Gregory sings of lying because his “mind says it’s the best thing to do.”
In “Lonely Side,” the vocals hit immediately, and “in a land of parasites” is one of the first lyrical phrases you hear. Heavy. The chord progression reflects the mood with its minor emphasis, and though it starts out somber, it brightens up with the addition of vocals and synth.
It’s clear from the first few seconds of “Let Me See What Happens Next” that it’s going to pull on your heartstrings. Gregory’s vocals and a piano: that’s all you get, but that’s all you need. Simple chord progression, piano arrangement, vocal lines and harmonies—it works. In the midst of fully produced, guitar-heavy, percussive tracks, it’s nice to have a piano ballad to mix it up and provide a point of rest.
I’m a sucker for any song with a person’s name in it, so when I saw “Alice Come Home” on the list, I immediately began romanticizing. It builds slowly and launches after the first minute or so. Gregory switches his vocal style from airy to belting and back again to provide a rollercoaster of a song that’s dynamic and fun to follow.
“Ode to Joe” can only be described as “eerie,” a tone accomplished with a piano and what I’m picturing as a damp, dark echo chamber.
“I Will Be The World” has punctuating vocals that match the precision of the drums. The track escalates, forming one of the heavier rock song of the album and proving the trio’s range.
“Prague ‘99” suggests a trip around the world as well as back in time, and the song takes you on a high-energy run and into a room of groove. From the top, an intricate guitar riff is introduced, and then driving rhythms from the drums and more guitars are added to fill the landscape.
“Swans” is a lullaby with a dark side. It makes use of the eight minutes with a slow but steady build up to hard-hitting percussion and layered guitars.
Closing out, the title track, “That’s Your Lot,” rests at the very end. The band carries their less-than-sunny outlook to this melodic farewell, musing “I’m part cloth and part man.”
Review: Tei Shi – ‘Crawl Space’
As improvements in technology have expanded musical possibilities and resulted in a surge of experimental music, it can be difficult for an artist to differentiate themselves in such an extensive landscape. For Grimes-approved new wave pop artist Tei Shi–real name Valerie Teicher–this isn’t an issue.
Born in Argentina, the 26-year-old singer-songwriter and producer makes music that isn’t confined to one genre but is still instantaneously recognizable as her own. Her first EP Saudade was the first taste we got of Tei Shi, also marking her first collaboration with producer Luca. It was their collaboration on a cover of Beyoncé’s “No Angel” that put them on the map; a unique take on an already acclaimed track was the boost Tei Shi needed. Now, she’s back with a full-length album comprised of a fusion of synths, evocative vocal loops, and a tinge of childlike whimsy.
As expected, Crawl Space a reflection of her eccentric musicality, but it also serves as a window into her own life experiences. The album opens with a clip of what appears to be a young Tei Shi speaking Spanglish as she learns how to record vocals via a cassette player, an homage to her Argentine roots and an allusion to the inspiration behind the album name; when she was younger, Tei Shi overcame her fear of the dark by entering a crawl space. Interludes featuring her younger self are interspersed throughout the record, chronicling her growth from fresh-faced newcomer to musical veteran.
“Keep Running,” the lead single from the record, is both catchy and otherworldly. The music video features a silk-clad Tei Shi performing karaoke at a neon house party, exploring the different rooms while seemingly invisible to other partygoers. Heavy drum hits bring a larger-than-life character to the song as Tei Shi croons a vocally demanding chorus.
The album’s other single, “How Far,” is mellower. Haunting vocals surf over Eagles-esque electric guitar, bringing the listener into Tei Shi’s world. “Justify,” a track in which Tei Shi is almost exclusively whispering over an electronic beat, is reminiscent of FKA Twigs. “Say You Do” belongs more in the pop world, baring a likeness to fellow alt-pop artists Sky Ferreira and Charli XCX. Crawl Space takes a welcome turn with “Como Si,” a slow, sultry track that Tei Shi sings entirely in Spanish.
While the variety of elements on this record are undoubtedly unique to Tei Shi, it’s her own personal style and stage presence that set her apart from other experimental artists. She describes her music as fitting into the “mermaid genre,” and we can’t help but agree. Her work is playful yet unforgettably eerie. Its light and spirit mask its uncanny nature.
Crawl Space is an embodiment of Tei Shi’s artistry; it’s the refreshingly introspective body of work that you need in your life. After you become as obsessed with this record as we are, you can catch Tei Shi on tour with Danish artist MØ this year.
8/10
Review: Drew Beskin – ‘Cha-Ching Machine’
Drew Beskin has worn many hats. He’s been the frontman for the bands The District Attorneys, Party Dolls and PURSES, which have spanned Atlanta and Athens venues such as Smith’s Olde Bar and the Caledonia Lounge. He’s also been serving as the manager of the Georgia Theatre in Athens for the past few years. These days, however, he’s been working on a solo, self-titled project: an album entitled Cha-Ching Machine, out today.
Beskin teamed up with Chase Park Transduction (the Athens studio that’s been instrumental in bands like Drive-By-Truckers and Deerhunter) and is self-releasing the record on his own label, Laser Brains, with the help of This Is American Music. The 29-year-old recruited his fellow Athens creatives to make the album feel like one big jam session.
In February, he premiered the album’s first single, “Love Trauma,” with Pure Volume. Even though he considers the song to be “a silly song,” he admitted that it’s actually the one that “kind of brought the project together.” It was written in a mere five minutes the day before he went into the studio proving that sometimes the songs that simply happen end up being the best ones. It’s definitely a good introduction song for a new fan since it sets the tone nicely.
Last week, he premiered the second single, “Hair Metal,” with Paste Magazine where he described the song as accidentally becoming the “intense emotional climax of the album.” After taking a listen, I couldn’t help but be drawn into the complex (but well-balanced) sound the song emits.
Each song on Cha-Ching Machine is carefully constructed with melodies that are unique but still catchy enough to get stuck in your head. Stylistically, you can hear the ‘80s rock influence on the guitars and drums, making it a throwback album without losing its relevance.
When it comes to musical influences, the artist notes Elvis Costello, The Cure, The Smiths, Roy Orbison, Pavement, T. Rex, Beck (the Sea Change era) and Marshall Crenshaw.
The opening song, “Smile In Denial,” is an energetic track that pleas with listeners to “get up and lose control.” From the kickoff, it’s clear we’re in for a good time over the next 10 tracks.
“I Don’t Know What To Do”–one of the deeper cuts on the record–starts off with a percussive piece that sets the groove for the next five minutes. On the heels of belting out the honest title lyric about confusion, Beskin pulls out his falsetto. It’s airy, beautiful and contrasts nicely with the rough-around-the-edges rock feel of the rest of the album.
Beskin’s token love song, “Eyes At Me,” is as sweet as it gets and passed my belting-in-the-car test beautifully. Well done.
The album closes with “Save Your Thoughts,” making its entrance with a smooth synth and bringing in some vibey jazz elements as it builds. An excellent closer.
Cha-Ching Machine is available now. Have a listen, and then—if you’re an Athenian—head over to the Caledonia Lounge tomorrow, where Beskin will be playing an album release show, along with opening bands Chief Scout, Neighbor Lady and Blanko.
8/10
Haiku Review: The Shins, Jay Som, John Andrews & The Yawns
The Shins – Heartworms
Whimsical and fun,
Dancey yet sentimental,
Heartworms warms the heart
Jay Som – Everybody Works
Feminine and soft,
Telling and lifelike vignettes,
Musical vision of love
John Andrews & The Yawns – Bad Posture
Descriptive lyrics,
Intimate, soft melodies,
An acoustic dream
REVIEW: Dana Swimmer’s Veloce
As someone living in Athens and happily soaking up all the music that this Classic City has to offer, I can say one thing without hesitation: Athens band Dana Swimmer makes me proud to be here. Their new album, Veloce, is an eccentric intermingling of rock n’ roll sounds that everyone and their mother adores – think the Black Keys – and personal touches throughout that remind you that this talented band is human and, well, undeniably Southern.
An example? At the end of the album’s second and most popular track, “Fairground Girl”, the band can be heard exclaiming such self-deprecating comments as, “That was awful. That was terrible!” These kinds of witty, sarcasm-imbued statements throughout the album harshly juxtapose what we’re thinking: “Wow, this song is AMAZING.” Speaking of “Fairground Girl”, we’re not surprised this song is so popular. It combines upbeat, pep-in-your-step instrumentals with a very Devendra Banhart-esque, crooning voice. It’s safe to say we can’t get enough.
And though the whole album is worthy of some serious Athens pride, the best track has got to be “I’m Still Your Man”. It’s slow, it’s simple, it’s beautiful – a love song to compete with the greats. The tune really peaks at the chorus when some very whimsical female vocals are introduced, that later morph into entirely fitting background vocals.
Yet another endearing feature of the album, the 29-second instrumental “Tilda”, brings us to the album’s last two songs. And, have no fear, Dana Swimmer is clearly not the type of band to haphazardly stick a few songs on the end of an album to kill time – these last tracks are some of the band’s best. “Mother Nature” is decidedly hard and fast, reminiscent of the Eagles of Death Metal or the Strokes. The album ends on a bit of a lighter note with “Signs of Symmetry”, a playful, upbeat tune, mixing in a few retro ooh and aahs for good measure.
So, are you dying to be an Athenian yet?
8/10