You’ll have to forgive the Cannibal Cheerleader crew for being a bit behind on this one (we are law students after all). Still, it would be disengenuous to say we haven’t heard of this NYC duo whose firestorm of hype swept up the blogosphere with such fury as to drown out all but their brand of rap-via-smashing-guitars sound – we’re of course talking about the inimitable Sleigh Bells.
And while we can only claim that they hype was what drove us away originally, we’re kicking ourselves now that we haven’t been on this smoking bandwagon all along. Sleigh Bells are, in a word, phenomenal. A furious face-melting teeth-shattering wholly jarring smorgasbord of throat-punch noise rock wrapped around a devastatingly horrific flow that’s as indebted to Alice Glass as Outkast. An amalgamation of LOUD LOUD LOUD and more of the same with enough room for catchy melodies despite that. Suffice to say, both literally and figuratively Sleigh Bells has knocked us off our feet (we have the stitches to prove it).
The simple formula seizes with boldness and accomplishes a degree of arresting complexity within its limited confines. Blown speaker cones and nonsensical splattered lyrics from the likes of producer Derek Miller and emcee Alexis Krauss respectively create a singular experience completely unlike anything else we’re experiencing now in punk rock. This duo has taken disparate elements and smashed them together to create a highly volatile mix of crunk and carnage. Probably our favorite album of the year so far! Can’t wait to see them when they swing through Austin on Oct. 9th!
Seems like just yesterday we were reviewing the masterfully woven Stuart Murdoch solo project God Help the Girl, and now, fresh off that welcome musical breather, the band’s all back together, releasing the first proper Belle and Sebastian album since 2006’s The Life Pursuit. To say that Write About Love (or more specifically Belle & Sebastian Write About Love) is a refreshing followup would be an understatement, as would a ‘return to form’ writeup. This is the group at some of their best, combining the lyrical density from their Sinister yesteryear, the pop hooks from their Catastrophic days, and the lush production they’ve recently Pursued.
The group have been saddled with the crown of indie-rock superstars for well over a decade now, growing and morphing with each subsequent album. What may distinguish this latest release is its penchant for slow-burning romanticism, bouncing happy romanticism, all around lovely, hypnotizing, enthralling, intoxicating romance; from songs like “Come on Sister” to obvious standout, Murdoch’s duet with Norah Jones “Little Lou, Ugly Jack, Prophet John”. A fantastic collection of B&S tracks that stand up to some of their best work ever. If the band needed a 5 year break to return to the mindset of making music this fantastic again, so be it. Well worth the wait.
Austin’s best kept secret finally has some recordings to their name – White Dress. The self-titled EP from the Arum Rae-fronted blues-rock duo showcases the incredible range of musicality this group can accomplish in just five short songs. Beginning with the tender and lilting “Light Hearted”, a classic country tale of years gone by too fast, the album quickly takes a sharp turn with the rip-snarl of “Wearing Red”, with its shattering opener, fuzz-choked guitar roars, and Rae’s inimitable croon. “No Solid State” is classic Nashville session band with an experimental edge, combining harpsichord warbles with boom-tsk drum work, all sounding raw and haunting as if through blown speaker cones. “The Kill” sounds as if its sung from beyond the grave, with echo-filled vocals being tossed about in a sea of pummeling guitar riffs, and “Five Feet of Road” ends the EP on a thrashy, downtrodden rager that sees Rae smearing the instrumentation across the record like lipstick on a truckstop bathroom mirror in a slithering, sexy fashion. Rae’s penchant for combing classic blues musicality, kicking it up an art-rock notch, and injecting it full of overt heat and passion puts the Austin transplant on par with some of the best indie artists working today. Overall a fantastic and utterly fearsome debut – here’s hoping we can hear more soon!
Indie-rock upstarts the world over should look to Arum Rae, frontwoman from Austin blues-rock duo White Dress, for tips on showmanship. At a recent performance at the beer-and-blood soaked Hole in the Wall, a venue where the jukebox refuses to play anything that ain’t sad or Cash, Rae swiveled her hips and pursed her lips, growling and smoldering around every lick and hook she choked out of her six-string.
White Dress’ live appeal has always been surrounded by the inimitable power of Rae’s singing voice and audience connection, on display even more prominently after a band restructuring. Now featuring Grant Van Amburgh on sticks as Rae’s only support the singer’s electric antics are on full display and her quiet personal demeanor belies a snarling rock goddess as she struts about the stage pummeling out careful licks with ease and poise. Burning through standouts from their new self-titled EP and ending with a haunting cover of “So Lonesome I Could Cry” Rae and Amburgh walk the line between consummate Nashville session players and underground indie wunderkinds. All in all, this is the kind of music every artsy, smoky bar should be playing religiously. Our favorite Austin band of the year! Check ‘em out at their next show, Sept. 16th at Trophy’s.
Again, sorry for no pics people, serious tech issues but do listen to White Dress! Review of their EP tomorrow!
Sorry about the delays of last week Cannibal Cheerleader faithful – more than one technology defect has been hindering us, grr! But we’re back on track this week with a live review of none other than the Mynabirds (sorry no pictures, again our blasted tech issues!)
Studies in perseverance should be conducted on the musical career of Laura Burhenn. Having begun a solo career a decade ago in D.C. and bouncing between disparate indie-rock acts such as Georgie James, the artist never seemed to quite break the mold with a sustainable formula – that is, until her recent reincarnation in the form of the majestically elegiac Mynabirds who recently swooped through Austin.
For all the difficulties of the past, the Mynabirds more appropriate moniker might be the Phoenixes, as the tribulation and hard-fought little victories have all coalesced in their brilliant new record, appropriately titled What We Lose in the Fire We Gain in the Flood. Setting up their equipment in unison before a crowded Mohawk in Austin, Texas the members of the group keep the neat report of road-traveled consummate professionals, but there’s no hiding the giddiness and elation that underlies their coming action. With a subtle, quiet voice Burhenn invited the audience to listen and they eagerly dove into their reverent folk-rock world with their album opener “What We Gained in the Fire”.
Despite the subtle touches of chamber-pop that snuck into the crannies of the reverent songs of the band’s debut, Burhenn and co. came off as every bit the dance-hall country band, practically propelled airborne on the wingspan of the frontwoman’s towering voice. Each song began with a tender croon that, like the waves of some booming tide, came rising and crashing into the audience in increasing intensity until all were swept up in the magnificence of the musical moment.
Blazing through most of the tracks off their debut LP the group proved not only capable singers but accomplished musicians, burning through guitar solos and piano breakdowns with the ease of bandmates who you know are having a blast. All in all a fantastic display from one of our favorite bands of the year. No doubt will make our top ten list!
Solo efforts are risky business. Even when all the talent, the bombast, and the appeal of a band rests firmly with the frontman, to remove oneself from the safety net of the group, to pull in all the disparate elements and take on every role, to shoulder the burden of success without even a few hired hands at your back at best breeds a simple, warm distraction and at worst falls miserably flat. For all the greatness Kele is not Bloc Party, the Last Shadow Puppets are not the Arctic Monkeys, and, dare we say it, Jenny Lewis is not Rilo Kiley. However, once in a while, the black rock-star boots fit. Brandon Flowers, with his new, effortless release Flamingo, is an American Morrissey. Crafting a record of Killers-esque dusty rockers Flowers injects such a level of sophisticated and heart-on-sleeve emotionality to the sweeping proceedings that it rings not only genuine but truly passionate and personal. From his duet with Jenny Lewis “Hard Enough” to the fabulous, barn-burning opener “Welcome to Fabulous Las Vegas”, from the slinking synths of “Jilted Lovers & Broken Hearts” to the pomp and circumstance of closer “Swallow It”, all surrounding the magnificent centerpiece “Crossfire”, Flowers has assembled a collection of heart-breakers so worthwhile as to stand next to his best work with his day-job band. Outside of the confines of a group act this frontman gives himself room to breathe and gives in to his deepest inner passion. Brandon Flowers – “Welcome To Fabulous Las Vegas” by Cannibal Cheerleader
The Black Angels continue to churn out brilliant psycho-rockers after barn-storming brilliant dreamweavers of records, this time in the form of Phosphene Dream, a ten-track journey to the depths of the inner eye, a window to a hard-rocking, drug-infused, phantasmagorical dreamworld. More than ever the band relies heavily on 60s-era Zombies-esque melodies while incorporating the loud-quiet-loud dynamics of modern indie rock, crafting a sound wholly their own and unbelievably exciting while still familiar. Quite possibly their strongest record to date, check out more from this great Austin band!
The simple formula seizes with boldness and accomplishes a degree of arresting complexity within its limited confines. Blown speaker cones and nonsensical splattered lyrics from the likes of producer Derek Miller and emcee Alexis Krauss respectively create a singular experience completely unlike anything else we’re experiencing now in punk rock. This duo has taken disparate elements and smashed them together to create a highly volatile mix of crunk and carnage. Probably our favorite album of the year so far! Can’t wait to see them when they swing through Austin on Oct. 9th!
