Infinite Shuffle

December 25, 2011

96 – The Horrors

Filed under: England, H — assman41 @ 12:01 am

What better time to post a review about a band named The Horrors than on Christmas Day? The contrast is delectable.

Anyways, I had never even heard of The Horrors until a couple of weeks ago when I started scouring best-of-the-year lists. The English five-piece had received a lot of nods for their third full-length release, Skying.

I’d noted it on several lists, but didn’t pay much attention until I read what Under the Radar magazine had to say after ranking it the year’s No. 5 album:

After the Sonics-worship of their debut and post-punk experiments of its follow-up, England’s The Horrors look back to the melodic rush of such ’80s bands as Simple Minds for Skying. Whether they settle into this sound remains to be seen, but for now they seem to have found a stylistic coat that fits just right.

That description piqued my interest, so I set forth listening to their entire catalog, including 2007’s Strange House and 2009’s Primary Colours.

I don’t know The Sonics’ sound well enough to compare the debut album. All I can say about it is that it was a nearly unbearable mishmash of industrial metal/punk garbage. I’m sure there are a lot of people out there who dug that sound, but not me.

The sophomore disc was a welcomed departure from that earlier nonsense. While still rough around the edges, The Horrors start to find their niche in the post-punk genre. If I didn’t know any better, I would’ve sworn this album came out in 1983, what with its strong early goth influences.

On the latest album, we find the boys sticking to the post-punk sound, but refining things and adding some slightly poppier inflection. While I certainly wouldn’t rank it among the best albums of the year, it does have its moments.

Some of the stronger tracks include “I Can See Through You”, “Dive In”, “Moving Further Away” and “Still Life”.

December 18, 2011

95 – An Horse

Filed under: A, Australia, H — assman41 @ 12:01 am

I had high hopes when I downloaded Walls, this year’s sophomore release from the Australian boy-girl duo An Horse. I’d had a positive reaction to their 2008 debut, Rearrange Beds, and expected for more of the same.

Unfortunately, that’s exactly what I got. The two albums sound nearly identical. Then I went back and listened to the original and realized that, despite having a really great sound, every song was pretty much a continuation of the last.

Judging by their looks, the Australian duo seems like a blonder version of Matt & Kim. And, at times, the music channels their Brooklyn contemporaries — just on a softer, more toned-down level.

Vocally, Kate Cooper sounds like a relaxed version of Shirley Manson. Paired with Damon Cox, they’re somewhat reminiscent of Tegan & Sara, the group that “discovered” them.

This is why it’s difficult to rag on them. Each song, taken on its own merit, is pretty catchy indie-pop. But when you string together 10-12 of them on an album, it can seem pretty repetitive.

Maybe I’m being too superficial. Perhaps someone with a more refined ear can detect nuance in their tunes.

Feel free to check out their website or MySpace page and decide for yourself. Just don’t be surprised if you start to get the feeling that you’re listening to the same song on repeat.

P.S. When you see a picture of them, just remember that the short one really is a woman.

December 5, 2011

93 – The Horrible Crowes

Filed under: H, New Jersey — assman41 @ 7:04 pm

The biggest concern when a lead singer of a popular band decides to form a side project is that it will sound too similar to the original. It’s understandable, considering that the main vocals often leave the most lasting impression on listeners.

Sometimes, singers’ second acts can sound totally different from the precursor, but more often it’s too difficult a feat to pull off.

Brian Fallon, founder of The Gaslight Anthem, recently took the plunge and landed somewhere in between. For the most part, his new project, The Horrible Crowes, sounds like a very toned-down version of his main gig. But it’s different enough to be more enjoyable than frustrating.

Formed about a year ago as a duo with guitar tech Ian Perkins, The Crowes put out their first album, Elsie, in September to solid reviews. Its 12 tracks go by quickly with a run time of about 45 minutes, so it’s natural to want to listen to the album a few times on repeat.

It’s mostly filled with slow-burning songs of lost love and the like. Unsurprisingly, the best tracks — “Behold the Hurricane” and “Ladykiller” — are the ones that sound the closest to Gaslight B-sides. But on this album, Fallon occasionally trades his Bruce Springsteen mimicry for Tom Waits-style grumbling.

The album is definitely a must-have for Gaslight loyalists, but it should also appeal to all indie rock fans alike.

August 5, 2011

78 – The Head and The Heart

Filed under: H, Seattle — assman41 @ 3:26 pm

From time to time, I will attend a concert in which I’m looking forward to the opening act more than the headliner.

In fact, it just happened a few months ago when I saw Yuck precede Tame Impala at Lincoln Hall in Chicago. I only made it through a couple of songs before I walked out on the headliner.

But no matter how much I liked the “smaller” band, I can, at the very least, always remember the main act.

That wasn’t the case when I saw The Head and The Heart last year. During a free show under the Space Needle in their hometown of Seattle, THATH so overshadowed the other groups, that I had no recollection who they were opening for. (As it turns out, the headliner was Mt. St. Helens Vietnam Band.)

The Head and The Heart – Down In the Valley

The six-piece has drawn a lot of comparisons to bands such as Fleet Foxes, The Avett Brothers and Mumford & Sons. But I think their most similar contemporary might be Dawes.

THATH released their self-produced, self-titled debut in 2010. Then, after a heated battle for their services, they signed with Sub Pop Records, which remastered and re-released the album in April of this year.

The Head and The Heart – Lost In My Mind

One of the notable things about THATH’s best songs is the way they slowly unfold. About halfway through the 5-minute-long “Down In the Valley”, the song changes course, picks up the pace and gets really good.  (Sidenote: Considering my current profession in the newspaper business, I particularly like the line “… wish I was a slave to an age-old trade.”)

“Lost In My Mind” doesn’t pick up until the 1:30 mark. And in another strong ditty, “Sounds Like Hallelujah”, it isn’t until the 1:40 mark that the song alters course and becomes more enjoyable.

The Head and The Heart – Sounds Like Hallelujah

They’ve been in Chicago a couple of times this summer, and I just missed seeing them when they opened for The Decemberists. But they’ll be back in town in October, so I may have to make a special trip over to the Windy City.

January 23, 2011

60 – The Helio Sequence

Filed under: H, Portland — assman41 @ 12:01 am

Bands alter their sound all the time, whether it be to gain a bigger audience, because of personnel changes or simply the natural evolution of their music.

The Helio Sequence didn’t really have any say in the matter. The need to make a transition was thrust upon them when lead singer Brandon Summers lost his voice and was forced to learn how to sing again.

Following the 2004 release of their third full-length album, Love and Distance, the band embarked on a six-month tour of the United States and Europe during which Summers’ vocal chords became severely shredded, forcing him into long stretches of silence.

Upon returning to Portland, Summers’ doctor forbade him from singing for almost two months. The result was a person newly dedicated to his health and an artist more intensely focused on his craft.

That passion came out in the band’s next release, 2008’s Keep Your Eyes Ahead. Where the group’s arsenal had previously been filled with long, trippy songs coated in equal parts pop, psychedelia and electronica, a new sound emerged with tighter, more radio-friendly tracks.

The Helio Sequence – Can’t Say No

The Helio Sequence is one of those bands that are hard to pigeon-hole, but the best label currently for their ever-evolving sound might be indie electro-pop with a slight tinge of folk.

The band’s shift actually began on Love and Distance. On its first two albums, Com Plex (2000) and Young Effectuals (2001), the duo relied more on shoegaze and twee pop and some of the fuzz rock of My Bloody Valentine.

But on the third album, the boys from Beaverton (it’s a suburb of Portland), started to rein things in and even incorporated a harmonica on several tracks, including the aptly titled opener, “Harmonica Song”. With that song, and a few others, they add a new bluesy dimension to their sound that is reminiscent of My Morning Jacket.

The Helio Sequence – Harmonica Song

On the latest album, they crank up the beats and take everything to the next level. The disc opens strong with “Lately”, followed by their best track to date, the above-posted “Can’t Say No”.

Other solid offerings include the title track, “Hallelujah” and “You Can Come To Me”.

The Helio Sequence – Keep Your Eyes Ahead

The Helio Sequence channels several influences into this album, including Bob Dylan (on “Shed Your Love” and “Broken Afternoon”) and Modest Mouse (on “Back To This” and “The Captive Mind”). The latter is not surprising considering Weikel did double duty a few years ago, playing drums and keyboards for Modest Mouse for a brief stint in 2003-2004.

For a band that is composed of just two guys and their laptop, they can really bring it in a live setting. I was lucky enough to see them open the five-day “Tomorrow Never Knows” festival at Lincoln Hall in Chicago earlier this month.

They actually opened the set with their biggest hit, “Can’t Say No”, which I thought was quite uncommon. But it definitely helped invigorate those in attendance — many of whom had been there for several hours and were forced to sit/stand through a couple of dreamy bands that were doing their darndest to lull us to sleep (that excludes the awesome first opener California Wives).

From the opening song all the way until the end, I don’t think my toe ever stopped tapping. Much of that can be attributed to Weikel, who certainly was into the music himself.

Plenty of drummers do some weird things while behind their kits, but Weikel’s facial contortions might’ve been the most jarring I’ve ever witnessed. An apt comparison I read online was to that of Animal from Muppet Babies.

A couple other things I noted from their concert was that they had just a one-song encore, which is rare in my experience — it seems like two songs is the agreed-upon minimum.

Also, the festival was called “Tomorrow Never Knows” and The Helio Sequence have a song on its first album with the same title. However, I don’t remember them ever actually acknowledging that fact. Then again, they may have played it and I never would’ve noticed.

But I digress.

It’s been nearly three years since the group’s last full-length release, and judging from their track record, it could still be another year before we get anything more substantive than the split 7-inch it put out with Menomena for Record Store Day last year.

In the meantime, check out The Helio Sequence on MySpace or on their page at Sub Pup Records.

September 5, 2010

41 – Hey Marseilles

Filed under: H, Seattle — assman41 @ 12:01 am

Upon my first listen of Hey Marseilles’ debut album, To Travels & Trunks, my initial thought was that it sounded like an Irish band covering The Decemberists.

As it turns out, the band is from Seattle. So, basically, they’re a Seattle band with a French-sounding name pretending to be an Irish band pretending to be a Portland band pretending to be a group of turn-of-the-century sea-faring knaves.

OK, so maybe that’s not the most accurate interpretation. But, to me, they do seem to have two very distinct influences — The Decemberists and Irish music.

The band started slowly in 2006 when Nick Ward and Matt Bishop played together as students at the University of Washington. Eventually, they grew to seven members and released their aforementioned debut album in 2008.

While a huge hit in the Northwest, it’s taken awhile for Hey Marseilles to gain a wider audience. But eventually, the band earned enough praise to have the album re-released this year.

The disc starts and ends with instrumental tracks. So, the first real song, is the title track, which starts out immediately sounding like some Irish dirge before quickly transitioning into the indie folk that persists throughout the entire album.

The next track, “Cannonballs”, reminded me a little bit of The Avett Brothers’ “I And Love And You” — but just a little.

That was followed by the album’s catchiest song, “Rio”, which was my initial conduit into the band, via NPR’s Song of the Day. NPR’s Stephen Thompson described the song as “a worldly chamber-pop gem marked by a full-to-bursting, jauntily percussive sound in which seven people politely clamor to be heard.”

After the mostly instrumental “Cities” comes another string of solid songs, including “Someone To Love”, “Hold the Morning” and “You Will Do For Now”. Also in that mix is my other favorite from the album, “Calabasas”, which reminded me of something Great Lake Swimmers might’ve done.

Hey Marseilles – Calabasas

With any luck, Hey Marseilles will continue to develop a wider audience. In the meantime, check out their official website and MySpace page.

Interesting sidenote … I first heard about Hey Marseilles shortly before leaving on a vacation to Portland and Seattle last month. I didn’t see them out there, but I did discover several other new bands that I’ll be reviewing in the coming weeks. So, stay tuned.

July 18, 2010

36 – House of Heroes

Filed under: Columbus, H — assman41 @ 12:01 am

I first heard House of Heroes a couple of years ago when I still had my little, portable XM player and would constantly record hours of programming from the XMU/SiriusXMU station.

I eventually downloaded The End Is Not the End, their third full-length album, at some point in early 2009. But I never gave it a proper listen until now.

I immediately remembered which song first stirred my interest in the quartet from Columbus, Ohio.

House of Heroes – If

When I started doing research on the band, I was disappointed to see that they’re often considered a Christian alt-rock band. While there’s nothing wrong with that, as an atheist, I’m usually immediately turned off anytime I hear a band described as “Christian.”

As far as their actual sound, you wouldn’t necessarily know they have any particular religious leanings. While listening to them, I just kept imagining them up on a stage at the Warped Tour — since they sound like any number of the modern emo-punk bands that are out and about these days.

Of the “related artists” listed by Amazon.com, I’ve only heard of a few of them, and I don’t really know much about them other than that they would fall into the aforementioned Warped Tour genre.

According to drummer Colin Rigsby, some of House of Heroes’ influences are The Beatles, Queen, Muse, Bruce Springsteen and The Clash. Personally, the only band I could detect in their music was the occasional grandiosity of Muse.

If my less-than-objective review hasn’t turned you off of the band, go check out their MySpace page.

They’ll be releasing their fourth album, Suburba, on Aug. 3 of this year.

I may or may not check it out.

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