Print Edition: November 14, 2012
Ty Segall
Twins
Ty Segall’s output has always been both ambitious and diverse, but this year Segall has outpaced most manufacturers. On Twins, the San Francisco garage-rocker’s third full-length release this year, Segall is beginning to strut. A psychedelic-heavy outing that toys with acoustic pop, stoner vibes and an expansive range of swirling guitars, Twins is richer and more densely packed than any of Segal’s previous releases. The opener “Thank God for the Sinners” begins with a biting guitar riff, with Segall infusing some blown out Thin Lizzy guitar harmonies and a chorus that burrows its way into your head. The glam rock inspired “They Told Me To” has a distinct undercurrent of melody, but a relaxed and ever-present sense of psychedelic groove. Relaxed, but unsatisfied, Segall knows how to save the best for last; Twins stands as his most accessible album to date while retaining the edge of earlier 2012 projects Slaughterhouse and Hair. What direction he decides to go next is anyone’s guess, but whatever it is, you can be assured it will be done with quality.
Grape Soda
Form a Sign
After registering a few bars of their debut full-length, Form A Sign, it’s clear why Grape Soda takes its name from the saccharine Crush spinoff. Hailing from Athens, Georgia, Grape Soda is a sibling drum and organ duo with MGMT aspirations. I cannot stress this enough: Grape Soda love them some organ. Paper-thin layers of whirring rotors, echoing arpeggios, fuzzy bass keys and Ryan Lewis’s steadily plunking drum beats are matched with brother Mat Lewis’s strained, just-out-of-reach vocals. I’m not a stickler for what would be considered a traditionally-good vocalist, but Mat’s weak singing chops definitely don’t help things on an album already lacking in substance. Aside from lacklustre, sad robot dance party soundtrack fare like the ill-fated two-step of “Big World,” Grape Soda’s lyrics are often ridiculously banal. Take the bridge of “Obvious Signs” for example: “We all should be dancing/So why aren’t you dancing?/Everyone is dancing/You’re the only one not dancing.” With its mechanical, rhythmless delivery, it feels like something straight out of a Flight of the Conchords satire.
Little Big Town
Tornado
Little Big Town finally gets it right with their latest album Tornado, thanks to new producer Jay Joyce (Erich Church/Wallflowers) and writers Natalie Hemby (Miranda Lambert/Carrie Underwood) and Luke Laird (Jason Aldean/Rodney Atkins). While the group has traditionally stuck to their slow and swanky four-part harmonies, they take a bold new approach with their fifth album, which debuts several country-rock hits. Tornado may seem to be a shameless proclamation of the group’s midcareer identity crisis, but the album’s departure from the lazy countryside seems to be a major breakthrough for the group. The album’s new direction better showcases the band’s vocals without putting you to sleep. “Pontoon,” the album’s debut track, went viral this past summer, and quickly became a must-have party hit. While the band proclaims there is no lead singer, Karen Fairchild’s voice clearly steals the spotlight in this mid-tempo track. I recommend skipping straight to “Tornado,” a good foot-stomper, featuring two electric guitars, also led by the strong vocals of Karen Fairchild. “Self-Made” is another upbeat track definitely worth a listen; it really builds momentum as the chorus approaches and the instrumentals intensify. The band’s made-over look is debuted on Tornado’s album art. The crew gains curb appeal by sporting their new sleek and polished look.
Coheed and Cambria
The Afterman: Ascension
Three years after releasing the final chapter of their five-album epic known as The Amory Wars, progressive rock and storytelling extraordinaires Coheed and Cambria have returned with the first of a two-part project dubbed The Afterman. Needless to say, they haven’t skipped a beat releasing arguably their greatest, albeit shortest, effort to date. After the haunting sci-fi intro, The Afterman: Ascension truly takes off with an instrumental intro that only sets the pace and tone of what will be a great album. Ascension does not disappoint. Anybody looking for some excellent air guitar material, mixed with a dash of catchy vocals should look for this album. A few tracks may falter, but the lofty goals set in place before listening to this album are exceeded by leaps and bounds. Between stories of prize fighting Domino, butcher Vic who harbors a pyrotechnic side, and a gentleman caught slipping a drug into a drink, Ascension is a fun ride and makes listeners eagerly anticipate the conclusion. Notable tracks: “Domino the Destitute,” “Vic the Butcher,” and “Mothers and Men.” Credit must be given to any band that can use the word “implore” in the chorus of a rock song.
