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!
In what might be construed as a big departure from the heavy, emotional indie-rock of Rilo Kiley or her solo career, Jenny Lewis, performing here as Jenny and Johnny with long-time boyfriend and some-time collaborator Jonathan Rice, has crafted a breezy summer record sounding every bit the Little Joy to her former band’s the Strokes. With its carefree rhythms, jangle-pop instrumentation, and swooning male-female vocals, one might mistake this record for a one-off spin at a barbecue were it not for the wordy, literate lyrics on Ourobourous and switchblades that keep this otherwise sleepy record feisty and new. The subtlety that slinks into the songs might go over the casual listener, but with bizarre instrumentation and haunting, strange lyricism throughout Jenny Lewis proves once again to be the indie-rock queen we all swoon for. Give it a listen! Jenny and Johnny – “Switchblade” by Cannibal Cheerleader
Shattering and exploding their way out of San Jose, Costa Rica The Great Wilderness craft a brand of bluesy-psych rock that, by the power vested in a few dozen shoegaze pedals, absolutely and unbelievably incinerates, sending the listener careening through the haunting dreamworld this quartet has managed to manufacture. Equal parts pummeling riffs and ethereal guitar rhythms these four ladies sound every bit the more garage-rock edginess of early Black Rebel Motorcycle Club with enough feedback, tape hiss, and distant, uninterested vocal stylings to make this underground sensation the coolest group you’ll no doubt hear all year. There exists in the Great Wilderness not only a fierce level of originality, combining grunge rock energy with dream-pop introspection, but also a heightened degree of genuineness, owing no doubt to the rabid ferocity that comes through with every track off their excellent debut EP Afterimages of Glowing Visions. As an aside, were there a greater match between title and content for a record this year, let us know because the sunspots in your eyes after the flash is every bit what the Great Wilderness bring to the table. Download their EP here immediately – here’s hoping these girls can make it to the States soon!
Film School has always created a lush, articulate brand of swooshing nu-rock that blows their more mainstream contemporaries (I’m looking at you Silversun Pickups) right out of the water. However, on their newest record Fission, the quintet has dialed back the swell and upped the ante on the indie, churning out lithe, piercing tracks of blazing harmony, relying on the strength of their musicianship more than ever. It’s a gamble from a group that has staked their claim on My Bloody Valentine references, but sounding more like a Cocteau Twins or Lush jam highlights the bold new directions the group is willing to head towards. Tracks like “Heart Full of Pentagons” suck the listener directly inside and propel them through the Film School universe like a guided stargazing trip through the cosmos with alien voices explaining in beautiful detail each star’s birth each supernova each black hole. Altogether a fantastic effort from the group yet again and worthy addition to their already incredible catalogue.
It’s no secret that with a name like Cannibal Cheerleader we’re huge fans of any band that calls itself ‘the Killers‘, which is why we’re incredibly elated to learn (perhaps late to the game) that lead singer Brandon Flowers will be releasing a solo album called Flamingo in early September (that’s the cover art up there). Maybe it’s the fact that the band genuine rags-to-riches-story, their rise from indie-credibility to stadium-seating rock gods, or just that they write some damn fine rock and roll music, but despite their ‘mainstream popularity’ we still think of the Killers as one of the best groups working today. Now that Brandon Flowers has taken the reigns himself there’s no telling where he’ll go, though the release of the first two singles “Crossfire” and “Swallow It” suggest the singer has given himself some room to breathe, building on the fist-pumping, soaring pop-rock of the Killers and letting his inimitable voice and ’so-clumsy-they’re-incredible’ lyrics mesh over a webwork of shredding guitars and plucky samples. Here’s hoping the whole album sounds like these tracks – if so it’ll be one of our favorites of the year.
Our favorite French purveyors of post-punk classics Nouvelle Vague have released a new ‘Best Of’ compilation, which would otherwise be unremarkable (considering we have all their albums on constant rotation) if it weren’t for the supremely excellent bonus disc which contains unreleased and rare live tracks, including smashers like “Pride” and “Come On Eileen”. Another notch in the belt for this overwhelmingly rewarding band whose tracks recall a world of haunting melody and high impact songwriting. Check it out! Nouvelle Vague – “Pride (In the Name of Love)” by Cannibal Cheerleader
