So with another week of Christmas standards left to endure and, if you’re like us, they’re starting to become wearisome. It’s not too soon to want something new, Christmas-music-wise, is it?
Will "relatively new" do? Released in ’10, Watch Out For Rocket‘s "13 Days of Christmas", like the holiday it professes to celebrate, stands the test of time, growing better with age. A genre variety pack of 13 pop-rock numbers from the prolific David Thomas Jones, done up in lofi style for your season celebratory pleasure. From the hard-rockin’ ("13 Days of Christmas", "Hey Now (Merry Christmas)", "Fly Reindeer Fly" ) to the jazz-ish ("Hey Mr. Snowman"), the psychedelic ("Eggnog N Incense"), the pop ("Drummer Girl", "Upsidedown Xmas Tree", "Merry Christmas Baby"), and even a touch of acoustic folk-ish ("Santa quit yer foolin’ around"); nothing says Holiday Cheer quite like this collection.
Before you go out on that sleigh ride, snatch up your favorite holiday beverage and give "13 Days" a spin.
Just in time to chill out your frantic Christmas chores with throw-back classic, head-bobbing, 70-ish funk, BoomBaptisthas whipped out the horrifically-titled "The Lost Files Vol. 4 (2007-2009)" LP. Andrew Thaggard explains the "Vol. 4": "It is the final volume of the four-part series that progresses through time up until the release of my beat tape in 2009."
It’s OK – we can indulge Mr. Thaggard’s unimaginative title. ‘Cause this baby is filled to the brim with MPC-powered beats, adorned with keys, fueled by wicked bass lines, and blinged-up with the occasional random vox. Though this collection does occasionally flail with repetitive flourishes, none of these tracks are 3 minutes long, so stick around: The good funk wins in the end. If nothing else, check out the excellent re-working of the Talking Head’s "Drugs" in track 10 ("B4 Numark Bought Akai & Everything Went To sh*t"), the dead-on, nailed-it Memphis-sounding "Seductress Duct Tape (Too Tough)", and the sweet-n-sour soulful "Coming out of retirement, again (MJ Theme)".
Before they were The Gorgeous Hands, back when they bore the less-gorgeous-sounding moniker of The Magnificent Snails, these guys generated some well-formed, acidic, garage pop-rock (check out the Baby Acid Trips EP). Now they’ve put aside the stimulants and the Snail name, and have generated an irresistable pair of pop numbers for their latest 7-inch single. Nicely harmonized vox over alt rock guitar licks, propelled along some tried-and-true chord progressions and highlighted by truly righteous riffs. Two sides-worth of good stuff here.
This came out back in June, so you mighta missed it. You’ve got a few minutes, see what gorgeous hands these snails have become.
Don’t know if you’ve heard ’em yet, but we managed to catch Da Di Daat The Parish (the underground version) Thursday night, and they did their first release ("The Crowbar Separation") proud; nailing the thrash-punk and alt-rock change-ups, and even the softer ballads, with apparent ease. Couldn’t miss Rhys Woodruff’s chops (who’s doing Reo Casey’s old job in the drumkit), who made it look easy whilest keeping up with the furious pace set by frontman Don Denham and bassist Taylor Browne.
Catch ’em between Christmas and New Years at Scumstice!
Radio Fallout has been around Austin generating good ol’ American rock since 2009, with their last release, the Mondegreen EP, 2+ years old at this point. High time for The New, and the just-in-time-for-the-holidays "Vox e Tenebris" doesn’t disappoint. Scates, Walker, and Palmer serve up spades of classic rockola riffs with these tracks; special mention for opener "I want to be alright", and (almost) title track "Lux e Tenebris". Acoustic strumming and Scates vox gives a slight Americana flavor to "Falling In", while "Wishing Well" bears traces of grunge, primarily due to Scates’ Kurt Cobain-like vox. Stretching out their range, the guys surprise with "Heir", an unmistakeably cowboy-boot-toe-tapping, bluegrass-rooted number, then follow that up with the grungy, glowering "Hour of Darkness". Taken as a whole, Vox e Tenebris showcases Radio Fallout’s firm grasp of rock and its roots, with some excellently-constructed numbers and roots-reverbating composition; scorning synths and other digitalia for more classic rock instrumentation. Part bright folk, part dark grunge, but all housed in straight-up rock ‘n roll: Should you hear this voice in the darkness, it’ll be hard to turn away before the last notes of "Status Quo" fade.– Scott Osborn
David Thomas Jones, taking after his better-known "Indiana" namesake, typically consorts with primitive relics of a bygone age. Namely, a 4-track cassette tape recorder. This was the man’s go-to gear for recording his music, typically in the living room of his apartment. It’s what his Watch Out For Rockets crew recorded on. They turned out 5 albums-worth of stellar lofi alt rock on that thing, catching attention and raising expectations all over the continent.
But we’re using the past tense here (maybe you caught that), because Jones has managed to get in some time in a real recording studio, on real equipment. And rock-star producer/engineer James Jones manned the conn and caught it all in Protools. And the results confirm our best hopes – In a pristine setting, Jones did what he does best, and now we have, arguably, the best indie alt rock record of 2012.
Bold statement, that. But not a stretch, really. Go back and listen to those 5 lofi releases. Glimmering between the tape hiss and room noise and muddy tonal balance, it’s hard to miss the budding compositional chops. Like John Williams, Jones has that knack for generating tunes from a wealth of genres that are familiar enough to hang a motif on, yet fresh enough to rivet our attention.
Our Lives, for example, is the opening track. A World-flavored, David Byrne-ish tune, with disco-danceable percs and a marimba-lead melody, then sealed tight with Jones’ easy-to-sing-along-with chorused vox. It’s a viral-inducing, irresistible piece of work, and a pretty far piece from your typical lofi stuff. This opening is followed up by the easy-in alt-rock "Diced Gold"; a vaguely familiar rock-pop number with definitely unfamiliar breaks and bridges. Then, the loveable straight-up rock of "Butcher In The Sky" enters as a moody & somber, yet easy-to-air-guitar-and-bellow-along-with rock anthem. Next, the cinematically-familiar "Perfect Knots" gives us a softer, jazzy, piano & drum & bass number, with Jones’ vox gently luring us close before skewering us with a dramatic piano arpeggio – Surprisingly subtle stuff from a guy known for lofi.
The next track though, "The Deaf Words", obliterates the previous gentle touch with thick rock-steady guitar thrash, and then kills it with an almost-too-abrupt fake ending. "Alibi" brings intimacy as Jones’ picks the acoustic guitar along folksy chord progressions, but not dipping into folk art. And the last track, "Coffin Electricity", seals and delivers the package with a more familiar driving-rock theme.
And when you look back over this collection, the alt rock and jazz and folk and thrashing-rock, the hard and soft motifs, the subtle and not-so-subtle, you see a variety of influences and sounds; none of which overpower, and all of which comprise a masterful whole. Stepping up his production game, Jones has deftly navigated past the Charybdis of indie releases – No track sounds like another. And all shine with the happy confluence of professionally-handled tech meeting masterfully-generated art. For a first step into a brave new studio-clean world, it’s off-the-charts good, and one of the best Austin-based releases this year. –Scott Osborn
Recently we have been publishing rather lengthy pieces. Word has come from our head office in NYC that we are no longer permitted to do this. So, until our state secedes from the union, we are going to have to deliver our customary quality with brevity.
Major Major Major’s self-titled EP begins bravely with a gorgeous ambient intro (sounds like a sound check for Broken Social Scene). About a minute and a half in, the rest of the band enters and the track turns into a 90’s influenced doo-op song. Adrian Sebastian’s vocals are quite perfect for the piece; soft spoken in one moment and then full of boyish charm in the next. Then, Peace Love Darkness picks the album up from its initial picturesque melancholy into a very energetic, almost modish sort of tone. The opening lyrical rhyme scheme falls a bit flat, but Sebastian makes up for it throughout the rest of the track. Peace Love Darkness is definitely garage pop, but pop done well.
In The Caribbean holds the same charm of the previous song while lowering the tempo slightly. The drums and bass saunter forward around the center guitar piece, which is placed well against the bridge and chorus of the track. The break down near the end is a fantastic moment of something completely different, however the guitar solo following the break down seems a bit forced in recording (though in a live setting it worked brilliantly). Wouldn’t Mind At All is my favorite track on the album. The vocal line is what keeps the audience hooked, with a lovely half step drop during the chorus it is matched only by the bass, which swings nicely through the 4/4 backdrop.
As a whole piece the EP flows perfectly from one song to the next. The synth touches, the backup vocals, and guitar tones throughout this EP are golden. It’s unfortunately rare when an EP or LP is an actual piece to be considered as a whole, as opposed to a collection of singles. Perhaps more groups, pop or not, should take their cues from Major Major Major’s heartbroken yet boyishly cheerful EP. –Taylor Browne
Perhaps you’re familiar with the schmaltzy School of Rock thing (thank you Jack Black). But you know, in the "life is stranger than fiction" vein, a real honest-to-goodness School of Rock does exist, and it… (wait for it) ROCKS. And guess what else – there’s a real honest-to-goodness band comprised of adolescent boys called Residual Kid and they… (wait for it) ROCK. Yep – The drummer is 14, the guitarist is 14, and the bassist is 12.
You can’t make this stuff up. Well, you can, but it’s not as good as the Real Deal. Because if you or I concocted this story, the kids would be heartthrobs and play a radio-friendly brand of pop. You know, like the Bay City Rollers (or, if that’s too old school for you, the Backstreet Boys (Editor’s Note: Scott, I am not going to link the Backstreet Boys)).
But the juicier truth is that these yard apes, these Residual Kid guys, will melt your face clean off.
You’ve been warned. Don’t believe it, do ya? Check out their brand new EP, "Faces" – Recorded and produced by Grammy-nominated producer Chris "Frenchie" Smith, it’s 6 tracks accost with crystal-clear crunch, perfectly-polished punch, alt-rock vox, and the panache of a more experienced mien.
Go ahead, jump right in and give the first (title) track, "Faces", a minute, see what we’re seeing. A mean guitar thrash launches a grungy bass/drum groove, bookended with solid guitar work and easy-to-sing-along lyrics. Follow that up with "Friend", a nastily-rumbling bass-ish tune, and you’ll have to admit that No, this doesn’t sound like a bunch of kids. The next track will, however, after the vocals kick in – at that point, after some excellent head-bobbing crunch, you’re expecting something a bit more burly.
The remaining tracks do nothing but seal the deal – "Pulling Through" with it’s relentless lead, "Lab Rat" with it’s dirtied vox over confident melodic pauses, and "Lost Cause" with it’s stabbing guitar/bass pairings and everyman chorus – "I’ve been fighting for a lost cause". Me too – Welcome to the real world, kid.
OK, so seeing is believing? Check it, you can catch them live – They’re playing Fun Fun Fun Fest this weekend. Come back and tell us if that face-melting comment is for real (Editor’s Note: Or not, seeing as your face will be gone). Until then, or maybe afterwards, you can keep tabs on these fine young men at www.residualkid.com and on Facebook.
New video of Residual Kid‘s EP Release Party. Such beautiful noise. We’re so proud of our very own Austin boys. Do not, we repeat, do NOT miss them at Fun Fun Fun this weekend. Smash your guitar Pete!
"Southern Worship" marks the critical 3rd release for the Brothers Francis & Co of Stumbledrunk, and any follow-up to last year’s excellent "Collusion" had best cast a large shadow or be forever doomed as a musical misstep.And the first glance isn’t all that promising – There are only four tracks to this release.
So good thing the Wow factor is there. Somebody congratulate StumbleDrunk on their successful marriage of punk to lofi grunge-ness. No prenup required, this is a marriage made in… somewhere. See what we mean –
First track in, "Psycho Billy", noisily crashes down the sonic barriers that surround the punk genre like… well, a horde of beer-buzzed, mohawked psychopaths. Concatenating multiple guitar-slashing waves down into one fat crunchy-muffled thrust of manic aggression, Psycho Billy ain’t for the faint of heart. It starts with dissonance, the vox squatting almost too low in the mix, and it intermittently blunders into discordant intervals and other aural oddities. But at all times the track proudly projects the Billy in the title, edging towards us in a fear-inducing "he ain’t all there" shuffle.
The next track in, "Con Tajin", feels more like what we’re used to from our punk – the opening drop-dead bass riff and drum pattern are more easily discernable (compared to the psychotic ramblings of "Psycho Billy"). They eventually give way to some excellent fast-thrashing, presided over nicely with some near-metal lead guitar.
"Paranoia, Tx", an excellently-bass-lead piece, rumbles up and caves into walls of crammed-down and punched-up guitars, occasionally swerving into a muddily-mixed mess of noise, then popping out again into some instant-classic jam.
The last tune, "Shotgun Bible", comes at us straight from our rock roots, with the epic chords finished off with those lower-mixed vocals, giving an eerie edge to the take-away track. Perfectly nasty.
Overall, yet another excellent release from Stumbledrunk; a collection that shows you were punk should have ended up, had there never been a PUNK bin in the CD racks at the Walmart Superstore. The occasionally-muffled, lo-down and lo-mixed vox give the impression that they played these in the basement, but Mom recorded it upstairs at the kitchen table on one of those cassette tape boxes where the microphone is built into the case. But don’t take that the wrong way – we’re blown away by the obviously natural progression it turned out to be. –Scott Osborn
You can’t tell from the title, Where to Begin, whether that’s a question or an answer. We’ll venture that it’s both, despite the question-mark’s absence. This is, after all, Shortwave Party’s debut EP; three tracks’ worth of jangle-happy, lofi surf bop. Question – because we’re wondering what to expect from a grrl -fronted and lofi surf -backed –band; and Answer – because this is it, the first pass at defining the quintet’s sound, genre, and playground; this is where we start.
And like most lofi, there is a bit of ear-training required – You could mistake "jangly" for "spangly: muddily-mixed and reverbed highs", and thus miss out on some of the very nice workings in these tracks; where guitars dominate the sonic landscape with both crunchy mass-strummings and prettily-picked highlights, reverberating and filling in the EQ curve.
Where to begin? Let’s open like this EP, with the title track; a buoyantly-danceable, furiously-sparkling piece; full of rambunctious chord change-ups and assorted breaks; presided over by Shelby DuPerier’s excellent, darn-near-contralto vox. A bright beginning for this collection, and sign of things to come.
Track 2, "Hopeless", is not as Emo as the title may imply. Though a slower number, DuPerier’s vox once again leads us through the tune’s energetic guitars; her voice ranging romantically up and down the scale, letting us follow the song’s emotional peaks and troughs.
Which brings us to "Terez", perhaps the best and deepest track, and thus a natural to conclude this EP. With straight-forward, head-pumping verses, split up with minimalistic breaks; the guitars crunchily driving the chord progression, leaving DuPerier opportunity to favor us with some very nicely-done soaring passages.
Overall, if asked, we’ll say we’re happy to begin right here with Shortwave Party’s brand of jangle-happy beach bop. –Scott Osborn
You can find out more about Shortwave Party and upcoming shows on their facebook.
