Album Review

Bang Gang – ‘The Wolves Are Whispering’

By Will Oliver, June 26th 2015

Bang Gang

This week Bardi Johannsson has returned with a brand new album under his Bang Gang moniker, an atmospheric electronic wonder titled The Wolves Are Whispering. While many other albums have been overhyped this summer, not many pack as many instant hooks and delights as Johannsoon does on his new LP. It may be an album better suited for late night listening during a cold winter night, but it’s magic is still plenty welcome in the summer.
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Ty Segall - Manipulator

Whenever Ty Segall’s name comes up, you know the word “prolific” is lingering just around the corner. And if you take minute to really consider how much music he’s put out in a career of about seven years – seven solo albums (that’s one a year since 2008) in addition to a relentless torrent of singles, EPs, side projects, like Fuzz (for which he plays drums and sings), and collaborations, like the album Hair he did with White Fence and Reverse Shark Attack with long-time friend and bandmate Mikal Cronin – you inadvertently find yourself asking, in a somewhat bemused fashion, “How the fuck does he make so much music?” But what’s truly striking about Segall’s preternatural output is not so much the sheer quantity of albums, singles, and side projects he’s involved with at any given time, but the quality control he’s (so far) been able to maintain.

Normally, and I’m sure you’ve all witnessed this firsthand, a band will really lock into a sound, producing one or two interesting and important albums, but will inevitably be pigeonholed by the pitchfork-wielding arbiters of cool, having run into a wall artistically, reaching the limits of their aesthetic. Such bands wind up operating for a while as pale imitations of themselves, and eventually are absorbed back into the shadows of obscurity. But Segall, with uncommonly light feet, has (again, so far) defied that trajectory. Just when you think he’ll hit a downturn, the boosters kick in and he ascends to new and greater heights. Read the rest of this entry »

Adult Jazz – Gist Is

By Will Oliver, August 8th 2014 — with 1 comment

Adult Jazz

There’s a lot of music to shift through these days. Too much, for sure. While it’s easy to get lost in all the buzzy releases from flavor of the month types, there are many great records that come out that just don’t seem to be getting the attention and praise that they truly deserve. Unfortunately, it happens. But when we find these releases, they become that much more exciting to share. Today, I want to share one of those releases that may have slipped by your radar. It’s a debut album called Gist Is from a band called Adult Jazz.
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Review: Arctic Monkeys – ‘AM’

By Will Oliver, September 10th 2013 — with 3 comments

Arctic Monkeys - AM

Arctic Monkeys – AM | Domino Records | September 10, 2013 | Purchase

With every band there will be those fans who cling onto the bands past doings, digging their nails deep into a certain page in the bands history book, holding no room for change or alteration of that memory. You can’t be one of those if you’re an Arctic Monkeys fan. You just can’t. But with two instantly successful albums with Whatever People Say I Am, That’s What I’m Not & Favourite Worst Nightmare, you will always have fans whose necks are permanently craned backwards. That’s fine. Arctic Monkeys are moving right past you, with slicked back hair, leather jackets, all while riding on motorcycles and in convertibles, with your girl by their side. Every step they take is a new exploration, a new passion, a new feeling. You can either get on board, or hang on to the past.
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Stage Diving Into Ty Segall’s ‘Sleeper’

By Jimmy Mcquade, August 20th 2013

ty segall

The most crucial part of Ty Segall’s sound is the energy he puts forth. It comes through in almost everything he’s released. Take, for instance, a song like “Sad Fuzz” from Melted (2010) with it’s staticky powerchords descending in halfsteps to Ty’s delightful whine as he belts out “Please don’t be sad, my baby, no / Please don’t be sad, you know you’re mine / Oh yeah, you’re mine…” The lyrics starting with an unassuming, almost innocent air (“Please don’t be sad my baby, no…”) but morphing into something else entirely as Segall inflects the last bit (“Oh yeah, you’re mine…”) with menace. There’s an urgency and fervor to such songs that burst through the speakers and grab you by the collar, leaving you no choice but to pay close attention.
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[Album Review]: Local Natives – Hummingbird

By Will Oliver, March 2nd 2013 — with 1 comment

Local Natives - Hummingbird

January 28, 2013 | Frenchkiss Records | Purchase

Local Natives have had a tremendous journey over the last few years. It’s been great to watch these guys blossom into the confident indie mainstays that they are today. I waited a month to review this album, as I felt that anything sooner wouldn’t have been fair to the album, which is as close to the definition of a “grower” as can be. I’ve had plenty of time to listen to their new album Hummingbird, and to truly let it settle and work it’s magic on me.

It goes without saying that this is a different album than their tremendous debut Gorilla Manor, one of my favorite albums of the last few years. There’s no use comparing the two. Bassist Andy Hamm left the band in 2011, and The National’s Aaron Dessner produced the album, giving us all a clear indication that this would be a darker, more serious effort.

Looking around my peers and the rest of the musical landscape, it seems like a lot of people unfairly bashed the album too early on, insisting that it was a slow, listen that absent of the sunny hooks and harmonies that their debut so effortlessly established. It’s unfair because this album is a reflection of all the bands hardships, such as the losing of a band member/friend, and more serious forms of loss. Take “Colombia” a touching song written by Kelcey Ayer about the loss of his mother. Obviously we will never feel how Ayer felt after such a devastating loss of a loved one, but he guides us as close as he can in the song, putting us right with him emotionally.

Where as Gorilla Manor could be seen as various pieces of a puzzle, Hummingbird is the whole thing, an album that features an aesthetic heavy on melancholy, reminders of the past. The theme of loss hits home on “Three Months”, a simply beautiful ballad, that tackles the grieving process of losing someone, and the recovery that never quite seems like enough (“I’ve got to go on now/Having thought this wasn’t your last year”). The band strikes a similar chord on the dark bouncy riffs of “Black Balloons” that are begging for a more immediate recovery from a painful experience (“You hold me down and bring me back up again/ Until I can’t, I can’t tell the difference”). It’s the little things and details that you notice that make this album a remarkable listen. Such as this moment on “Ceilings” (“I haven’t stopped your smoking yet/So I’ll share your cigarette/Just to feel it in my fingers”). We’ve all been there, foolishly submitting ourselves because we fancy someone.

There’s nothing like when a track that does nothing for you at first slowly turns into your favorite. This is the case for “Mt. Washington”, a track that crept up on me and slowly hit my emotional core like nothing else. It doesn’t do anything more than it has to, and it builds and builds off lovely vocals from Taylor Rice, creating an emotional moment that works because it’s so simple and pure. It bears it’s soul to us, and we have no choice but to open ours right back.

Hummingbird is a somber, personal reflection that is highlighted by the touching “Colombia.” If I had any real gripe with this album, it’s that it should have ended on this song. It’s a remarkable song that perfectly captures the theme and power of the album. It’s power is inescapable. What’s also inescapable is the power of Aaron Dessner at the helms. He had a great deal to do with the restraint somber nature of this album. Hell there are flashes of The National on the album, such as the frantic drumming by Matt Frazier on “Heavy Feet.” Frazier is arguably the secret weapon of the band. If you want to argue, please listen to his drum fills on “Wooly Mammoth” on full volume and try telling me otherwise.

I previously said that there’s no use comparing Local Natives two albums, but I do think that this is the better one, and time will prove that as these songs have room to grow on listeners as quick as a hummingbird can fly.

Rating: 8.5

[Album Review]: Foxygen – We Are The 21st Century Ambassadors of Peace and Magic

By Will Oliver, February 5th 2013 — with 2 comments

Foxygen - We Are The 21st Century Ambassadors of Peace and Magic

January 22, 2013 | Jagjaguwar | Buy Here

Last October Foxygen delivered what would come to be my favorite performance of CMJ 2012. The band played in a tiny Chinese restaurant located on Canal Street and left quite the impression. Their set was an exuberant mix of The Rolling Stones, Bob Dylan, and Bowie, that exploded into the night and left me wholeheartedly impressed. Last year they released the solid Take The Kids Off Broadway EP, which is an excellent release on its own, but their debut album We Are The 21st Century Ambassadors of Peace and Magic is the fully formed next step that should propel these guys to the next level.
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[Album Review]: Christopher Owens – Lysandre

By Will Oliver, January 30th 2013

Christopher Owens - Lysandre

January 15, 2013 | Fat Possum | Purchase

When I heard that Girls broke up, I was devastated, but took solace in the notion that Chris Owens would move on as a solo musician. One would be hard pressed to deny that Owens was the heart and soul of Girls. His pure talent for songwriting was a major driving force for the band (as was J.R.’s production). I had hopes that Owens would be able to take his natural talent and make it work on his own. Lysandre, Owens debut solo release, unfortunately left me underwhelmed.
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[Album Review]: Free Energy – Love Sign

By Will Oliver, January 22nd 2013 — with 1 comment

Free Energy - Love Sign

January 15, 2013 | Free People | Purchase

Look around the musical landscape in 2013, and it seems like it’s all about having fun. Turn on the radio, walk into a bar, and you’re surround by music that capitalizes on the carefree nature of getting plastered and waiting for the “drop.” They say that EDM and pop works because it’s easy to digest and connects with audiences on a large scale. They also say rock is dead. With all that said, it’s hard to convince people that rock music is alive and well these days. Well, I would like to bring Free Energy into the conversation.
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[Album Review] Tennis – Cape Dory

By Will Oliver, January 18th 2011 — with 6 comments

Tennis – Cape Dory | 2011| Fat Possum

Purchase At Insound

The project of Tennis came to be when Denver, Colorado’s Patrick Riley and Alaina Moore sailed across the east coast together. They lived on a sailboat for nearly a year and decided to soundtrack their experiences on the sea. They released a few songs last year to the delight of music lovers everywhere. It’s not hard to get into Tennis. They make highly accessible music that is a modern take on retro sounds.

“Take Me Somewhere” is a charming opener that displays what Tennis is all about. You wouldn’t be wrong if you thought that Cape Dory was an albums from the hey-day’s of the 1950’s or ’60s. Alaina Moore’s airy vocals are easy on the ears, and this is a perfect fit for the throwback sound that Tennis emulates so well. Sure, Tennis isn’t making the most original music, but what they lack in originality, they make up with their ability to charm with pop styling.

These are 10 songs that are easy to love, and even easier to play over and over. Isn’t that what made the music so great in the ’50’s & ’60’s?

It’s hard to deny the two and a half minutes of pop glory packed into “Marathon”, a song that I haven’t stopped playing since last year. The guitars are tuned with a warm wholesome twang similar to the Walkmen. This vintage sound gives the band its edge. Tennis are successful in their attempt to turn back the clocks and make old fashioned music sound good again. Many bands have tried to do it over the past few years, and not many do it as well as Tennis.

“Cape Dory”, “Marathon”, and “Baltimore” all sound sharper compared to the early versions that we heard last year. They’re solid offerings, but the real star of this album is “Pigeon”. It’s the most intimate offering from the band, and it may just be their most charming moment. It’s a side of Tennis that I would love to hear more of. It’s the understated simple beauty that this world needs more of, and “Pigeon” rises to the challenge.

Cape Dory is an album that you will love the hell out of in the summer when it has time to dance freely in the warm summer air. Grab your friends, sit by the water, and take a trip down to Cape Dory.

This is as solid of a debut that you can ask from a band like Tennis. Not every album needs to be a game changer. Sometimes we just need an album that we can rely on. I don’t think I’ll have any problem playing this album over and over this year.

You know what, sometimes that’s good enough for me.

Rating: 8.3

Tennis – Pigeon

Tennis – Marathon

Tennis – Take Me Somewhere

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