Dangerbird Records, Aug. 2013
Indie/dance band Royal Teeth just released their debut LP, “Glow,” a few days ago. It’s safe to say: It’s one of my newest music obsessions.
The Louisiana-based band released the EP “Act Naturally” a little less than a year ago and performed a near-perfect cover of “Heartbeats” by The Knife. Fortunately, they brought the same talent to the table for “Glow.”
“Glow” starts with “Hold Me,” a somewhat repetitive, very catchy tune. The rest of the album refreshes with upbeat originality. Nora Patterson and Gary Larson’s voices go together like classic PB&J; it’s comforting. Still, goosebumps arise while listening to their breathy “Yellow Paper.” Appropriately so, it “glows” in an ethereal soundscape.
Royal Teeth already has staked a successful path. They’ve gone to SXSW and are embarking on a full U.S. tour this year. I predict they will become the next big thing for music.
SubPop Records, Aug. 2013
With plenty of EPs, and now releasing their fourth studio album, No Age really has created a name for themselves. Part experimental noise, part garage rock and part punk, altogether the band creates an explosion which might be a good thing when it comes to their new album.
Or are they just repeating themselves?
Sure, they haven’t changed their style much on “An Object,” but that has its pros and cons. Fans of No Age will continue to love the band and listen in on their catalogue for years to come. But fans looking for something new may find that disappointment will set in.
Though a good album, “An Object” is not memorable—no excitement arises. Quite frankly, it’s boring. Each song seems to blend together and it really becomes monotonous. Comparatively speaking, it’s a repeat of No Age’s older music—just another experimental rock album.
Full Time Hobby / Flemish Eye / Arbutus, Aug. 2013
Braids certainly has gone through many changes since their first album, “Native Speaker” (Flemish Eye/Kanine Records, 2011). The Calgary-based band moved to Montreal, and their original keyboardist, Katie Lee, left. The good news is such events didn’t affect their ability to create powerful, dynamic soundscapes.
Raphaelle Standell-Preston’s voice has a wide range which cuts through the synth beats remarkably. The bad news: The first and the second half of the album sounds very different. The first revels in sanguine sounds which makes it enjoyable, even for listeners who aren’t into experimental rock. The second half juggles uneven, static-y beats. Though unpleasant to the ear, “Together” starts with loud, raw rumbles and ends with some shrill caterwauling. This is definitely my least favorite song on the album.
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