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Twin Town High (vol. 8) |
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Coming Soon to a CD Store Near You . . .
Wednesday 29 October @ 12:33:55 |
 by Celeste Tabora
Caesars
39 Minutes of Bliss
[Astralwerks]
A mix between a punkier version of early Placebo and Murder City Devils, it’s baffling trying to figure out how Caesars ended up on the Astralwerks record label, which normally leans toward electronica-driven bands.
Those fans of the recent rock ’n’ roll revival and lovers of good lighthearted music in general will find a lot to like on 39 Minutes of Bliss.
Fun fact: In their home of Sweden they are called Caesars Palace, but they were formerly known as the 12 Caesars.
Broadcast
Haha Sound
[Warp]
England’s electronica outfit Broadcast left us hanging for three years after releasing their near-perfect debut The Noise Made by People. Where that record sounded like the work of elitist electronic snobs, this one is a bit more inviting. The vocals are quite alluring, although occassionally an awkward fit with the accompanying music. Some of HaHa Sound’s songs are eerie, some are romantic—more importantly most of them are great.
Peaches
Fatherfucker
[Beggars/XL]
You can’t really feel very wishy washy about Peaches. You’re either going to be scared of her or follow her like the dog in heat that you are!
You’re also going to feel the same way about her new album. Like her debut, The Teaches of Peaches, I was thoroughly entertained by the album’s tracks and after awhile I realized I’ve had my fill of this electroclash maverick. Listening to Fatherfucker is a lot like being in close quarters with a vulgar, loudmouthed friend under the influence — you gotta take it in small doses, or not at all.
Belle & Sebastian
Dear Catastrophe Waitress
[Rough Trade/Sanctuary]
I’m not quite comfortable with the term “twee pop.” It’s just a little too precious to describe a band of such high caliber as Belle & Sebastian, a group of Scots who continuously craft beautiful feel-good pop with strong ’60s leanings. You can’t help but dance around like a kid to their catchy tunes. On their fifth proper album Stuart Murdoch’s ensemble continues to impress.
Performing Fri., 10/31 @ Fitzgerald Theater
Enon
Hocus Pocus
[Touch & Go]
Enon have been quite busy this past year, touring extensively in the United States and beyond in support of their recent High Society release. Somehow they managed to cram in some studio time, too, and have just released their third record, Hocus Pocus, barely a year after High Society’s release. Refining their tasteful mix of electronic elements (synthesizers, drum machines, and vocal distortion all feature prominently on the record), Hocus Pocus is more focused and consistent than any of their prior releases. Fans of Enon will be pleased with this release and those who have yet to hear Enon couldn’t ask for a better introduction point to the band.
Hanalei
Hurricane We EP
[Self-Release]
Hanalei is the solo effort of Mike Moss and it’s quite different from that of his pop/punk band Ghost’s recorded efforts. It sounds a bit like Elbow fused with Ani DiFranco (I mean that in a good, non-emasculating way). Hurricane We’s honesty and directness are immediately endearing. Although this EP just came out, Moss is already working on more songs for his increasingly bustling sideproject — the results should be worth the wait.
Wrens
The Meadowlands
[Absolutely Kosher]
Finally, the album I eagerly anticipated more than any other in the last five years has arrived! Ever since I fell in love with their EP Abbot 1135, I’ve become a full-on devoted fan of the Wrens, hunting down all of their various releases. Unfortunately, that list of releases isn’t too long — their last full-length, Seacaucas, came out in 1996. The long silence forced me to conclude that the Wrens were dead and I had the worst timed fandom ever. Rumors of a new Wrens album in the works had flooded the indie-rock grapevine months ago and I hung on every word.
Then finally, September of this year The Meadowlands came out. And though the songs are better-than-the-average-bear (or rock band for that matter) I can’t see why this band left me waiting so long, the songs just aren’t as good as the ones on the prior albums. It’s going to be awhile before I wait that long again…
Rapture
Echoes
[Strummer/Universal Music]
The Rapture are currently smothered in music hipster hype across the nation and various pockets around the world — with good reason. I understand that all the buzz might be a turn off, but please believe that this is a great record for unencumbered booty shaking. Do your dancing shoes a favor and get this album, especially if you’re not ready to cross over into shaking that thing to the brilliant new Outkast record.
Black Box Recorder
Passionoia
[One Little Indian]
It’s true, I did adore this band’s prior albums and even though I enjoy bands that inform about social issues, it helps if their music evolves. Sarah Nixey’s tribute-to-Marilyn-Monroe’s breathy vocals don’t have much range and get boring song after song, much less after a few albums! Strange to say, I actually enjoyed what the band titled The Worst of Black Box Recorder more than I did Passionoia. Maybe they’ll come up with something fresh and innovative next time around—it’s time for a face lift.
Entrance
Honey Moan EP
[Tiger Style]
If I felt that Jack White (of White Stripes fame) was honest, artsy, and inventive I would really be into his band — it’s too bad he’s not. All those reasons are exactly why I’m so into Entrance. Between the rawness of this recording, and the meaningful and unconventional way that left-handed player, 21-year-old Guy Blakeslee (former bassist for Baltimore’s The Convocation Of…) strums and sings — you have everything that music should be and it’s right at your fingertips
Black Rebel Motorcycle Club
Take Them On, On Your Own
[Virgin]
BRMC is one of the best bands to come out of Los Angeles in the last few years. Despite their popularity here and abroad, BRMC simply aren’t that special of a band. This album is more aggressive and has a bit more liveliness than their self-titled debut, but the music isn’t very convincing — it sounds contrived and doesn’t really try hard enough to convince the listener that there’s some real feelings behind all the glamour. In this case all that glitters isn’t gold.
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