Tag: review
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Superchunk Delivers Punk Rock Gem on ‘What a Time to be Alive’
Superchunk turns anger into noise—and joyous noise at that—on the band’s newest album, What a Time to be Alive. Twenty-eight years after their self-titled debut, the band’s fury and energy is as powerful as ever, as frontman Mac McCaughan’s vocals mesh with soaring guitars and the pulsing percussion of drummer Jon Wurster.
The 2016 election has shaped much songwriting in the past two years, yet on What a Time to be Alive, the band strikes to the core of the political issues in a way that has seldom been used. McCaughan’s vague lyrics yet pointed rage provide some of the best politically charged songs in recent memory. On an early highlight of the record in “Break the Glass,” McCaughan sings, “Break the glass, don’t use the door. This is what the hammer’s for,” reminding everyone to continue to speak out and fight back.
This record is a great piece of punk rock, reminiscent of the ’70s and ’80s. McCaughan gives recognition to the past on “Reagan Youth,” as he reflects on similar political fury from the Reagan administration behind the ripping guitar of Jim Wilbur. The band balances the pace of the record brilliantly, switching on a dime from the mid-tempo “Erasure” to the raucous “I Got Cut.” There is hardly a bad moment on the record. Although the short “Lost my Brain” lacks any real memorable moment, the album’s lightning pace immediately throws you into stand-out track “Break the Glass.”
From the opening riff of the title track, Superchunk shows they have their fists clenched and are ready for a fight. The album clocks in just slightly over half an hour, yet the band’s whirlwind of sound gives this record great impact over its short running time. Over its entire 73 seconds, “Cloud of Hate” gives increased ferocity to the record and highlights the band’s ability to do more with less.
The album’s best moment comes final moments on the terrific “Black Thread.” The band ends the record on a powerful yet controlled note, keeping its political tone, yet showing tremendous melody as McCaughan’s vocals intertwine seamlessly with winding guitars before urging listeners to “Cut the Black Thread.”
Throughout all 32 minutes of roaring guitar solos and cries to action, What a Time to be Alive proves to be a fantastic record. Listening to the album, it is near impossible to imagine a band 28 years into its career simply adding another LP to its discography. Rather, you imagine a band near its prime, creating music with great ferocity and even greater heart.
8/10
Car Seat Headrest Reimagines Bandcamp Opus ‘Twin Fantasy’
Throughout the 71 minutes of Car Seat Headrest’s superb new (half new) album Twin Fantasy, frontman Will Toledo sings about being human. Or rather, about the struggle to be human when it feels like he simply does not relate to anyone around him. On this new version of his 2011 Bandcamp album of the same name, Toledo shines with an unashamedly honest whirlwind of a record.
This album puts Toledo’s growth as both a lyricist and a songwriter on full display, as the record is much more fleshed out and polished. Look no further than lead single “Nervous Young Inhumans,” originally a so-so middle tier song which Toledo revamped into a glam-rock opus backed by siren-like guitars. Throughout the record, Toledo doesn’t just rerecord Twin Fantasy with better equipment, but he reimagines it with years of growth as a songwriter.
That growth is most easily seen on the revamped and lengthened “Famous Prophets (Stars),” one of the album’s standouts. Toledo hones in guitar driven rage, a piano ballad and even spoken word over the span of the song’s 16 minute runtime. This song is six minutes longer than the 2011 version and is packed with ambition, including an entirely new piano driven riff that steers the song in an entirely new and fresh direction. Rarely, if ever, do these steps of ambition fall short on the record.
One of Car Seat Headrest’s strongest suits is the band’s longer songs, which have been a staple of Toledo’s throughout his career (two songs on this album clock in at over 13 minutes). Will Toledo’s ability to craft songs that continuously change and evolve is what truly sets him apart from many of his indie-rock peers. Although the length of the tracks may appear daunting at first, the evolution that takes place over each song makes the album more rewarding after each listen as seen on the romping “Beach Life-After-Death.”
The album’s main fault lies in overproduction on some tracks that benefited from the DIY sheen of the 2011 Twin Fantasy. “Bodys” is a prime example, as the lack of reverb isolates the warmness of the song and creates a far less compelling version that the original. The warmth of heavy reverb littered throughout the first record is mostly gone in the cleaned up 2018 edition. However, this problem is sparsely seen, as a great majority of this record benefits from a clearer sound.
On “Cute Thing,” Toledo begs God, “Give me Frank Ocean’s voice and James Brown’s stage presence,”( as if Toledo’s musical gifts aren’t enough to succeed). Yet, what he lacks in raw talent he makes up in songwriting and sheer ability to convey his emotion. That very same song is one of the best on the record, as Toledo’s lyrics perfectly convey the frustration, anger and hope of youth powered behind crunching guitars.
One of the joys of Twin Fantasy is how the album works on numerous levels at the same time. It captivates and succeeds as a stand- alone album and one of the best records released so far in 2018. But it also works as a re-imagination of the 2011 record and a testament to Toledo’s growth as an artist, allowing the listener to compare the two versions. Toledo has not just developed into a fantastic songwriter, but one of the best in his entire generation.
8.5/10
Ought: ‘Room Inside the World’
For a band that has excelled at portraying the several variations of panic, Ought have always kept great focus on being human in the center of an expansive map. The boldest step the band could make after 2015’s Sun Coming Down was perhaps toward the only place bigger than the planet: the subconscious. Room Inside the World is a dialing-down of the volume, but a true flexing of the band’s understanding of internal dynamics. This album is their biggest change in form and will go down as their most accomplished release yet.
Tim Darcy’s first croon into Room Inside the World, “Into the Sea,” is a Roy Orbison-like slide into the introspective: “I can’t be here in my way again.” Darcy’s lyrics have always pertained to a call-to-arms of taking on the mundane; even running errands was a declaration to the world. On this release, the hushed richness of his delivery is just as pronounced as any shout that we’ve heard on “More Than Any Other Day.” The entire band has grown in confidence, from the jangle-pop of “Disaffectation” to the shifts of “Take Everything.” Their foray into the love song, “Desire,” is a slowed-down, intimate track met with John Mellencamp-like storytelling of fleeting, but vivid romance. The track concludes with a choral response, and even in the falling apart that ensues in the closing minute, we’re met with an aftermath of assurance. Ought’s confidence in their songwriting ability makes these songs seem like their next path as opposed to a grand departure.
The crown jewel of the album, “Disgraced in America” is an exercise in that confidence. In the past, the band’s reliance on repetition has been where they flourish, but a change in style and rhythm show us that saying something out loud doesn’t make for self-reflection. The tightly-wound drums and light vocal work show a reflection that we haven’t heard from this band prior. “Disgraced” is three minutes shorter than a lot of their other punctuated tracks of the past, but it is their most nuanced track to date.
When looking deeply in ourselves, we may not always like what we find. “These 3 Things” is a dealing with material and physical guilt: how can we expect to be of service when we have instincts that will forever tie us to selfishness and gluttony? Can we really be against something that we subconsciously desire? These questions are anxiety-provoking, and Ought have learned to backdrop them with sound textures as opposed to just volume.
It’s easy to call this album more subdued and introspective than previous releases, but this album holds just as much chaos as anything Ought have released. It’s one thing to use nervous energy to proclaim your presence to an unforgiving world, but another to use that same energy in an act of meticulous self-care. What we are left with in the end is an acknowledgement and ablution of self-doubt. Room Inside the World doesn’t play like a how-to as much as a story of survival–a story that we all know and tell as we try to make ourselves better people.
8.1/10
Wild Child: ‘Expectations’
There are love songs, there are breakup songs and then there are the songs on indie-pop band Wild Child’s newest album, Expectations. They describe relationships in limbo, which is an all-to-relatable status nowadays. The members of Wild Child have successfully managed to mature sonically while still remaining true to their fundamentals. While the band has certainly grown in numbers over the years, the tracks on their newest album succeed in paying homage to their earlier, simpler days.
Expectations is by far the Austin-based band’s most passionate album. The lyrics are introspective and especially impactful alongside Kelsey Wilson’s powerful vocals.
While the first track, “Alex,” is my personal least favorite of the album, I have to respect the choice to kick off the somewhat serious album with a more lighthearted sound. Now don’t get me wrong; the track still has the same push-and-pull relationship drama storyline that much of Expectations deals with. Title track “Expectations” builds momentum until around 3:20, where you can really hear Wilson’s emotions pour out through the vocals. At one point, her voice actually reaches a scream, which would almost seem out of place for Wild Child, but context justifies the move, and the experiment is magnificently successful.
The title track, along with other up-tempo tracks including “Back & Forth” and “Think It Over,” demonstrate not only Wilson’s vocal chops and passion, but also the growth and development of the rest of the band. This many-layered album is a particularly good example of the wide range of talent Wild Child contains. Whether it’s a trumpet, violin, cello or ukulele, the band seems to always find a way to build upon their sound.
The slower tracks on Expectations are no exception. “Follow Me” is arguably the band’s most sensual song to date. And I can’t ignore the fact that the combination of “Sinking Ship,” “My Town” and “The One” legitimately made me cry. You know you’ve got a powerful album when one fourth of it brings out actual tears.
There were times in Wild Child’s 2015 album, Fools where I felt they were getting dangerously close to losing their signature, stripped down and simple sound. Where Fools lost that, Expectations has found it again with ease. “The One,” released as a single and as a music video, reminds me that it’s the harmonies of Kelsey Wilson and Alex Beggins that first made me fall for this band. While the rich texture found in their more upbeat tracks relays more passion at times, there’s nothing like Beggins’ ukulele.
Overall, Expectations pulls at your heartstrings. I hate to fan girl even more, but here’s to hoping we won’t see the last of Wild Child anytime soon.
7.5/10
MGMT: ‘Little Dark Age’
No matter what you think of MGMT, you’ve got to give them props for refusing to become stale. The band has evolved from their original bohemian rocker aesthetic, refusing to be defined solely by Oracular Spectacular, the hit album that boosted them into the spotlight over a decade ago. That being said, their newest album, Little Dark Age, tells me that they’re still not quite sure who they want to be.
Their first two singles, “Little Dark Age” and “When You Die,” which were both accompanied by music videos, made many think that they had begun to find an image. The “Little Dark Age” video shows a transition to a new, goth-pop territory; while “When You Die” makes it clear that they’re still not done using trippy, out of this world visuals.
In many ways, Little Dark Age does succeed in balancing the fine line between experimentation and clutter, in ways that their 2013 self-titled album failed to achieve.
The return of catchy hooks and seemingly effortless lyrics found in their first two singles, along with many others on the album, give the impression that the band is finally willing to lean into the commercial success of Oracular Spectacular and the upbeat rhythms, synths, and special effects that come along with it, without abandoning their obvious desire to develop more maturity in their sound.
In many tracks, including “One Thing Left to Try,” “Me and Michael” and the title track, “Little Dark Age,” MGMT demonstrates an evolution of sorts as they embrace the darker sounds of ‘80s synth pop, which works for them. After the “Little Dark Age” video was released, many comparisons were drawn between MGMT and The Cure, with a confident Andrew VanWyngarden boasting long, dark hair and eye makeup as he sang the gothic lyrics of the track.
However, “She Works Out Too Much,” and “TSLAMP” find the band back to grasping at straws when it comes to their sound. “She Works Out Too Much” is an overexertion of energy (no pun intended), sounding more like parody than originality. MGMT has succeeded in the past, and even on this album, in making powerful, societal remarks throughout their songs, but “TSLAMP” is too on-the-nose and obvious to be impactful. “TSLAMP”–standing for “Time Spent Looking At My Phone”–speaks of the trivial obsession with the cell phone, honing in on a message that’s far from revolutionary, bringing nothing new to the conversation but a cringeworthy attempt at a call-out.
Overall, Little Dark Age shows some serious growth for MGMT but still falls short at points. Slower tracks like “When You’re Smaller” and “Hand It Over” are reminiscent of Congratulations, (in a very welcome way), while “James,” which was recorded while the entire band and the producer were tripping, exemplifies MGMT’s tendency to try too hard to be unique and far out.
This album is difficult to decipher, albeit an important next step in MGMT’s journey to self-identification. The band is still teetering somewhere in between not caring what people think and caring too much, but their ability to converge organic sounds, steady beats and melodies is ever undeniable.
7/10
Review: Hoops – ‘Routines’
As we approach the summer months, easy listening is back and prepping us for spending our days lounging by the water (or on our rooftops). Whether you’re at Santa Monica Beach or drenched in sweat gazing at an awesome city skyline, Hoops should be on your summer playlist.
Just one year after the release of their self-titled EP, the band has reemerged from the depths of dream pop with their debut record. The warm embrace of lead single “Rules” made Routines one of the most anticipated indie releases of 2017, and the band did not disappoint. The record defines Hoops’ sound and solidifies them as a force to be reckoned with.
A close cousin of fellow pop artists Best Coast and Cults, Routines is a sun-soaked, lo-fi treat that is set to make a mark on its genre, tapping into that toes-in-the-sand summer feel that seems to exist in a subgenre on its own. While beachy vibes are not exactly what you’d expect from four guys who’ve spent their lives in Indiana, they make it work.
The record is charmingly minimalistic without being repetitive. This might be a product of the band’s unorthodox songwriting methods; rather than having a designated lead singer, whoever wrote the song will provide vocals for the track. Couple that with a signature reverb-laden guitar and mellow, fuzzy vocals, and you’ve got yourself the perfect sunny day soundtrack.
The album opens with the appropriately titled “Sun’s Out,” a synth-y, bubbly track that sets the tone for the rest of the record. Another thing you’ll find is that Hoops are keen on major chords; their happy-go-luck attitudes shine in their music. Their optimism is revitalizing in a time where indie bands too frequently harp on the same melancholy themes.
“Benjals” is a short instrumental piece with playful drums and a general feel-good vibe. We can only assume the track derives its name from a “Good Neighbor” sketch in which SNL cast member Kyle Mooney gives a satirical take on men who like sports. The theme of the sketch is much like that of the album – lighthearted and endearing while maintaining an air of truth. “Underwater Theme” is the most melancholic on the record, a chilled-out tune that creeps along at a steady pace without losing its whimsy.
With their delightfully sentimental seaside sound, Hoops are a modern day equivalent of The Beach Boys. Still, there are elements of Routines that could easily be attributed to British new wave bands like The Smiths and The Cure; elements like filtered vocals and seemingly effortless musicianship. Bassist Kevin Krauter once explained to us that the band feels most comfortable making music in his parent’s basement. It’s this authenticity that sets Hoops apart and makes their music as fun to listen to as it must have been to make.
7/10
Haiku Review: Kendrick Lamar, Little Dragon, Splashh
Kendrick Lamar – DAMN.
Intense yet laid back,
Kendrick’s latest masterpiece
is finally here.
Little Dragon – Season High
Cryptic, hypnotic,
Layered hooks and melodies,
Dreamy, strong vocals
Splashh – Waiting a Lifetime
Dreamy alt-pop vibes,
Sunny and summery feel,
Fun and upbeat songs.
Haiku Review: Father John Misty, The New Pornographers, Cold War Kids
Father John Misty – Pure Comedy
Classic vibes and sounds,
Acoustic with upbeat tunes,
Rare yet familiar.
The New Pornographers – Whiteout Conditions
Alluring lyrics,
Catchy melodies and sounds,
Poppy and fun beats.
Cold War Kids – LA DIVINE
Dark motifs and feel
Contrasted with hopeful sound,
Indie pop goldmine.
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
Haiku Review: Real Estate, Zarra Larrson, Frances
Real Estate – In Mind
Driven by guitar,
Reminiscent of oldies,
Groove in all the tracks
Zara Larsson – So Good
Pop with extra sass,
Hooks that stick better than glue,
Radio ready!
Frances – Things I’ve Never Said
Piano for days,
Effortless vocal styling,
Float along with her