In 2004, Houston’s Southern Backtones released a self-titled EP that marked a radical shift in the band’s sound. Originally a rockabilly project–with a fairly rabid fanbase–the Backtones instead channeled glam-era Bowie and late-80s college rock, alienating some fans but gaining many more in the process. In the years since the last release, other than the occasional single, the band has been mostly quiet, honing new songs, chasing storms, and finishing up 2011′s Honky Tonk Blood film. Given the band’s previous dramatic change, it should come as no surprise that La Vie En Noir brings another departure in styles and sound.

Singer/guitarist Hank Schyma’s deep and sexy vocals are in full effect on the new album, but it’s the music that again is the major difference. Full of spaghetti western influences–with the requisite hints of glam–La Vie En Noir is a dark, mind-altered trip through windy country roads and out of the way, Tarentino-esque dive bars. Southern Backtones’ music seems a perfect soundtrack for these types of experiences, and songs like “Bandera” (moody, country-tinged) and “Dive Disco Misfits” (glam rock) best demonstrate the extreme range of the band’s influences.

That’s not to say that Schyma and company are confused about the band’s direction. Far from it. The Backtones’ frontman has had these songs in his head for years, and with line-up shifts, the movie, and life in general, these things take time to make. Lyrically, Schyma mixes late-night drama, heartbreak (such as on the impressive “She Crossed The Line”), and road trips into a palatable mix of songs that, while most definitely varied, manages to work as a cohesive unit.

“Call Off Your Dogs,” a live staple and long-time fan favorite from early album Los Tormentos De Amor, and “Dirty” (from the band’s last album), both get unnecessary remix treatments on La Vie En Noir. While it’s easy to understand why Schyma might feel the need to update his old rockabilly tune to the newer sound, the song was fine as-is. “Dirty”–without a doubt a great song–almost seems a bit too clean here. However, these are minor missteps on an otherwise impressive album, and regardless, listeners new to the Backtones won’t know the difference.

Purchase and download La Vie En Noir via Amazon or iTunes. More information may be found at www.zenhillecords.com.

Southern Backtones plays in Houston this Saturday (5.12.12) at 3:30pm at the 2nd Annual Haute Wheels Houston Houston food truck festival, held at HCC Southwest West Loop Campus.

Former Pink Floyd member Roger Waters brings The Wall to Houston’s Toyota Center tonight (Tuesday, 5.1.12).

If you missed the show here in November 2010 (a review of which you can read here), be sure to check this one out.

Here’s a trailer from the tour:

http://www.youtube.com/watch?v=mookUhig6js

Benjamin Wesley
Think/Thoughts
Self-released/The Convoy Group

With Geschichte, Benjamin Wesley’s debut solo release, the Houston-based musician introduced himself as dark and talented, with songs that did ample justice to his wild and impressive one-man-band-style live performances. On his latest album, Wesley thankfully doesn’t stray far from the inventive songwriting that’s made him one of Houston’s most unique artists. The songs on Think/Thoughts are often sad, sometimes playful, and still bristle with hope.

Highlights include “Aliens” and “Catch My Shadow,” two songs that show Wesley’s signature sound–subtly crafted beats and melodic synths make up the bulk of Think/Thoughts‘ musical framework, along with meandering guitar and the occasional distorted scream. However, “Temper,” “Great Moments In Life,” and “I Take It Back” are where Wesley lays himself bare for the listener. Lyrics such as “The semen I came from from Vietnam / And then that soldier had some babies, shot himself in the head… / No time for sad stories / Truth and spit and rape and grit / and brutal and spooky, gut-wrenching evil shit… / It’s hard to trust another person…” (from “Temper”) are uncomfortable at first, but instead of coming off as overly dramatic–as they could easily do in less capable hands–they instead show a rare depth and style of songwriting that some may not have expected from the musician.

It’s these deeply personal and reflective lyrics and uncompromising style that help make Think/Thoughts a standout. By the time Wesley declares “I’m so awesome, tell everybody you know” (on the poppy “I’m So Awesome”), there’s no denying he’s right.

Think/Thoughts is available digitally via Bandcamp and in Houston at Sig’s Lagoon and Cactus Music.

As you may have recently read on Houston Calling, Wesley plays his album release show upstairs at Fitzgerald’s this Friday night (Good Friday, 4.6.12). Please email me at [dacobbatgmaildotcom] for a chance to win free tickets to the show. I will pick a winner at random for two free tickets to the show.

More information on Benjamin Wesley may be found at www.benjaminwesley.net. For a great video from Geschichte, visit 29-95.com.

The Convoy Group is throwing a listening party tomorrow night (Thursday, 4.5.12) from 8-10pm at  Double Trouble Caffeine & Cocktail (3622 Main St.). Sig’s Lagoon will be selling Think/Thoughts for $10 and will be open until 10pm. The first 25 albums purchased from Sig’s also get a ticket to the album release party at Fitz’s.

Kasabian
Live at Fitzgerald’s, Houston, TX
3.15.12

The vibe was celebratory at Thursday’s sold-out Kasabian show, and with good reason. For one, it’s been nearly six years since the Brit-rockers played in Houston, and–perhaps more importantly–seeing Kasabian in a small venue these days is a rare occurrence. In fact, it seemed like a surprise to the band members that they were playing such an intimate setting (surely it’s been years since the Kasabian was as close to its fans as it was during the Fitzgerald’s show). Although stage banter was minimal, hand gestures and facial expressions were fairly easy to read–it was great to see the band members having such a great time at this stage in their careers.

Kasabian relied heavily on its latest release, 2011′s Velociraptor, although the show’s lengthy setlist was essentially a “greatest hits” that featured “Club Foot” (probably the band’s best-known song in the U.S.), “Fire,” “Where Did All The Love Go?,” and “L.S.F.” From its first note, the band played Fitzgerald’s like they were playing a huge stadium show, with over-the-top bombast the band is known for. The sound (to my earplugged ears, at least) was excellent, and the band never lost momentum.

Like fellow Brit stadium rockers Oasis, Kasabian’s concerts draw a raucous crowd, and the Houston show was no different. But it was great to see fans so into a band, singing along with each song and continually throwing themselves at the band members. One fan I spoke with had seen the band in Milan and Dallas, and was raving and dancing throughout the band’s set. Despite some stereotypically annoying crowd members, the entire room seemed intently focused on the music and the obvious rock stars onstage.

It’s easy to see how Kasabian’s attitude and ambition can be a turn-off to the more jaded listener. However, there’s no denying the professionalism and enthusiasm for fans that the band displayed throughout its Houston set. It was both surprising and impressive.

Photos after the jump…

Given the odds of ever being able to see The Jesus and Mary Chain live again, a definite sense of trepidation surrounded me before Tuesday night’s show at Houston’s House Of Blues. The stories of the Scottish band’s explosive, short, and often half-assed concerts are something of legend these days, and while I wasn’t expecting the Reid brothers to actually fight each other on stage, a part of me wasn’t all that surprised at the kinks the band was seemingly working out during the Houston show.

You can read another review on Rocks Off, but The Jesus and Mary Chain’s Houston show was, in my opinion, on par with a typical JMC concert experience. Fuzzy guitars played at ear-shredding volume? Check. Stopping a couple of songs because someone’s out of sorts? Check. Starting late? Check. William grumpy about something, forcing Jim to abandon the end of the show? Check.

However, despite the missteps during the House of Blues show–which I assume could bother the less-patient, especially given the steep ticket prices–The Jesus and Mary Chain played a blistering set of songs that was a good mixture of their catalog and showcased why they are a continued influence on today’s bands (any Black Rebel Motorcycle Club fans out there?). Sure, I could spend time fretting about what songs the band’s set didn’t include (“Darklands” and “April Skies,” for instance), but it was the songs I didn’t expect to hear–and had almost forgotten about–that made the show for me (“The Hardest Walk,” “Sidewalking”).

Granted, this comes from a long-time fan (my first introduction was picking up Darklands at a Ft. Worth Sound Warehouse in 1987), and with my earplugs I had no issues with the volume and thought the show sounded good overall. The Jesus and Mary Chain playing shows in 2012, apparently promoting its reissued and expanded albums, is simply what it is: a cash grab and a good way for long-time fans to get a bit of nostalgia in and for those who missed the band the first time around to see a bit of what they missed. The fact that I saw fathers with their small children, one of who told me it was their pre-teen daughter that asked to go to the show, drives home the band’s time-tested appeal.

The Jesus and Mary Chain plays an official South By Southwest showcase (sponsored by Paste) tonight (Thursday, 3.15.12) in Austin at The Belmont at midnight.

Buxton’s music has never quite fit into a single genre. Broadly labeled as “Americana,” the band–which got its start in the Houston area in 2003–steadily built a name for itself with solid live shows, and the organic nature of the band’s instrumentation–which includes banjos, mandolin, and multiple guitars–coupled with by-the-numbers harmonies, draws listeners in to its down-home sound. On its long-awaited third full-length, Buxton takes a leap into an increasingly crowded pool of like-minded musicians and does its best to tread water with the rest of the pack.

Lead single “Boy Of Nine,” “Body Count,” and “Oh My Boy” best showcase the band’s influences: moody folk, bluegrass, and the ever-present indie rock–even some 80s college rock–are heard throughout the album. The latter two are precisely what helps to separate the band–vocalist/guitarist Sergio Trevino, guitarist Jason Willis, bassist Chris Wise, drummer Justin Terrell, guitarist/vocalist/organist Austin Sepulvado, and keyboardist/vocalist Hayley Barnes–from its better-known peers. While Nothing Here Seems Strange will undoubtedly appeal to those who are a little bit more country than they are rock’n'roll, the album’s edgier moments (“Blown A Fuse,” “Down In The Valley”) are firmly directed toward listeners much like the band themselves: open-minded music fans.

I have written previously that Buxton is the closest thing Houston has to Wilco, and Nothing Here Seems Strange reinforces that sentiment and proves Buxton to be a hard-working band, unafraid of experimentation, and willing to take risks in its songwriting. Whether that translates to massive sales is anyone’s guess. Regardless, Nothing Here Seems Strange is a step forward in a hopefully long and prosperous career.

Buxton celebrates the release of Nothing Here Seems Strange this Saturday (2.4.12) at Fitzgerald’s before heading out for a tour.

More information at buxtonband.com or New West Records.

Houston Calling‘s favorite Houston albums of 2011

1. Robert Ellis, Photographs (New West)
This was a great year for Ellis, whose album got him a lot of national attention, and album opener “Friends Like Those” is without a doubt one of the best songs I heard all year. Here’s what I wrote in my review of the album:

Although Photograph‘s folksier moments bring to mind the sincerity and simplicity of early James Taylor–especially on the impressive opener “Friends Like Those”–Ellis’ classic country influences are apparent throughout. The album’s most countrified moment is “What’s In It For Me?” (available on limited edition vinyl at his website and which you can stream here), a throwback reminiscent to any number of 70s-era country songs. And that’s the beauty of Ellis’ music: it’s good enough to hold its own with the greats (he gives nods to “Lefty, Willie, Hank, and Townes” on “Comin’ Home”) while still appealing to a diverse audience. Where a lesser musician playing this style of music might come off hackneyed or derivative, Ellis instead brings a smooth, irony-free approach that lends honesty to his songs. And there’s not much more a listener can ask of an album.

VIDEO: “Friends Like Those” (live)

http://www.youtube.com/watch?v=RvC9w73iXRU

2. Pale, In The Time Of Dangerous Men (A Blake)
Pale is one of the most ambitious groups in town, and the band’s appetite for the big time is as big as their sound (and their videos). This album further proves that Blue October shouldn’t be the only rock band from Houston in the spotlight. Here’s what I wrote about the album in my review:

Last year, Pale released the single and video for “Catastrophic Skies.” While the song wasn’t exactly a stretch for the band, there were brief hints of a musical shift in focus. In The Time Of Dangerous Men finds the foursome interjecting rawer-edged garage and danceable 80?s New Wave into the over-the-top bombast that’s defined the band’s music for years. For a band best known for its Muse-esque anthems, this is a surprising–albeit welcome–change…Pale always shoots big with its music. If 2007?s Mandatory Ambulance EP was the band moving forward, In The Time Of Dangerous Men is Pale propelling itself into a likely prosperous future.

VIDEO: “That Sinking Feeling”

http://www.youtube.com/watch?v=GEy8nwHGSb8

3. The Answer Page, Orca (Self-released)
A newbie on the Houston music front, musician Nate McKee penned an excellent break-up album that I found hard to put down once I heard it. Here’s what I wrote in my review of Orca:

The songs on Orca document the disintegration of a relationship and a man ultimately coming to terms with being alone. McKee, who not only played all of the instruments but produced, mixed, and mastered the album as well, takes the finer points of the “post-rock” genre–the slow, melodic guitars and gradually building tempos–and adds vocals that complement, but never overpower, his songs. Lyrically, the album starts off with the “all we need is love” adage that so often collapses in on itself in youth. Listeners will easily relate to “Shimmer”‘s “Roll the windows down, let’s leave behind / the things we worried about / no one can ever hurt us here…the summer’s everlasting” heartfelt sentiment. But love quickly deteriorates, and most of Orca finds McKee in reflective solitude, pining away for his lost love. “Cold Blue Light (In Circles)” and “Our Words Without Meaning” (on which he sings, “It’s not the end if I fall in love with the sound of everything undone”) best chronicles this loneliness, and listening to Orca is best when taken as a solitary experience, the better to get entwined with the songs’ swirling guitars and moody, echoing vocals.

MP3: “Shimmer”

4. Sideshow Tramps, Revelator (ZenHill)
This Houston-based collective is made up of some of the city’s finest–and hard-working–musicians whose live shows are frenzied and demand crowd participation. The songs on Revelator are reworked versions of previously unreleased recording sessions, and the extra attention was obviously well-spent. The band’s music is hard to pin down, but there’s a classic quality to the Tramp’s sound, with touches of folk, old soul, and down home country. Whatever it is, there’s no denying its originality.

VIDEO: “John the Revelator” (live)

http://www.youtube.com/watch?v=RST4iAqTDVE

5. Something Fierce, Don’t Be So Cruel (Dirtnap)
Listening to Something Fierce’s music grow into what it’s become definitely puts a smile on my face. From the band’s raw punk beginnings to the well-honed, late 70s-influenced sound of Don’t Be So Cruel, the band has proven itself to be solid and inventive. This is another local act that’s been able to spread its reach outside of Texas.

VIDEO: “Empty Screens”

http://www.youtube.com/watch?v=2okxcZmpfC0

6. Scale The Summit, The Collective (Prosthetic)
Progressive metal certainly isn’t for everyone, but there is no denying the talent in this band. Scale The Summit probably gets more exposure outside Houston than any other local act, and it’s well-deserved.

VIDEO: “The Collective”

http://www.youtube.com/watch?v=9l4RoOBmX84

7. Time, Self-titled (Self-released)
Thank God for Bandcamp. If it wasn’t for the site, I doubt I’d have heard of this album from local musician/producer Chris Ryan. Taking cues from classic psychedelic rock (a la Pink Floyd), unexpected albums like this are one of the reasons I stay in love with Houston music.

LISTEN: Time

8. The Dead Revolt, Vanixer (Self-released)
Hints of The Mars Volta and classic rock permeate this trio’s second release. This one caught me off guard, as I wasn’t expecting it to sound anything like it did. I guess the band’s name threw me,

LISTEN: “Day Of The Dead”

http://www.youtube.com/watch?v=cMpxTcnn6jE

9. The Never Years, Life Of Dreams (Self-released)
The “chillwave” genre comes to Houston, with excellent results.

VIDEO: “Aquarium”

http://www.youtube.com/watch?v=CBHi0l_rwso

10. The Tontons, Golden EP (Self-released)
There’s no denying the talent of the musicians behind the voice, and these five songs showcase both elements well. It will be interesting to see how The Tontons progress in 2012.

VIDEO: “Golden” (live)

http://www.youtube.com/watch?v=oZyPQKjUSDA

Albums 11-20 after the jump…

11. Drowner, EP (Self-released)

12. Various Artists (Southern Backtones, Two Star Symphony, Johnny Falstaff, Sideshow Tramps, John Evans), Honky Tonk Blood soundtrack (ZenHill)

13. Slovak Republic, Summer Pills (Self-released)

14. The Mathletes, Excalibur (Homeskool)

15. Folk Family Revival, Unfolding (Self-released)

16. The Energy, Get Split (Team Science)

17. The Literary Greats, Black Blizzard (Self-released)

18. The 71′s, Rock & Roll Reaction, Vol. 2 (Self-released)

19. Balaclavas, Snake People (Dull Knife)

20. Art Institute, People Love It When You Fail (Self-released)

What were some of your local favorites this year? Anything I missed out on? Feel free to post a comment or send me an email.

Have a safe and happy New Year’s, and here’s to a great 2012…

Throughout 2011, a lot of new (or new to me, at least) bands put out some interesting and inventive albums. And some of the tried-and-true released excellent albums we’ve come to expect. But as always, there are some releases that just stick with me more than others–the ones I return to again and again throughout the year.

Without further ado…

Houston Calling‘s favorite albums of 2011

1. A.A. Bondy, Believers (Fat Possum)
Bondy’s third solo album attracted my attention the most this year, though it seems to have flown under most people’s radars. Which is unfortunate, as the songs on Believers are languid, dark, and hopeful–a powerful combination when coupled with Bondy’s low-key delivery and classic songwriting style. Ryan Adams may get more attention but A.A. Bondy is the one that deserves it.

VIDEO: “Surfer King”

http://www.youtube.com/watch?v=lps2PRmbKzA

2. The Drift, Blue Hour (Temporary Residence)
A review I read of the album called it "intense, dark, sullen and substantial…but
it’s also beautiful"–an apt description of this San Francisco-based
instrumental band’s music. While past albums veered more toward the jazzier
side of things, Blue Hour takes a more ambient and experimental approach. It’s definitely one of the most interesting albums I listened to in 2011.

VIDEO: “Dark Passage”

http://www.youtube.com/watch?v=_geJhbYvnKk

3. Fleet Foxes, Helplessness Blues (Sub Pop)
I more or less ignored their first release but was blown away by a live performance of "Mykonos" I saw online. Maybe I am a bit more mellow these days–and I understand the band’s light, folk-infused music isn’t for everyone–but the songs on this album are addictive and beautiful reminders of love and loss written by a young songwriter wise beyond his years. There is a reason Helplessness Blues is on the majority of year-end best-of lists this year.

VIDEO: “Sim Sala Bim” (live)

http://www.youtube.com/watch?v=4RPQR0Hh0Kw

4. Robert Ellis, Photographs (New West)
The first of several Houston musicians on my favorites list this year, Ellis experienced a well-deserved breakthrough in 2011 and garnered national attention. Album opener "Friends Like Those" is without a doubt one of the best songs I heard all year. Here’s what I wrote in my review of the album:

Although Photograph‘s folksier moments bring to mind the sincerity and simplicity of early James Taylor–especially on the impressive opener "Friends Like Those"–Ellis’ classic country influences are apparent throughout. The album’s most countrified moment is "What’s In It For Me?" (available on limited edition vinyl at his website and which you can stream here), a throwback reminiscent to any number of 70s-era country songs. And that’s the beauty of Ellis’ music: it’s good enough to hold its own with the greats (he gives nods to "Lefty, Willie, Hank, and Townes" on "Comin’ Home") while still appealing to a diverse audience. Where a lesser musician playing this style of music might come off hackneyed or derivative, Ellis instead brings a smooth, irony-free approach that lends honesty to his songs. And there’s not much more a listener can ask of an album.

VIDEO: "Friends Like Those" (live)

http://www.youtube.com/watch?v=RvC9w73iXRU

5. Cults, Self-titled (Columbia)
The group’s blend of sixties female-fronted soul with low-key indie rock
is inventive and catchy. I had ignored the hype for a while but decided
to check out the band’s free in-store show at Cactus Music. I was sold
within seconds, and haven’t been able to stop listening to the album since.

VIDEO: "Go Outside"

http://www.youtube.com/watch?v=eAM9diyVRiM

6. Mogwai, Hardcore Will Never Die, But You Will (Sub Pop)
The fact that these Scottish rockers are still making music that’s both relevant and inventive shows why they’re one of the longest-standing purveyors of (mostly) instrumental rock. Hardcore… ranks among the band’s best, and I also suggest checking out their recent live album as well–it’s where they’re in their element.

VIDEO: "Rano Pano"

http://www.youtube.com/watch?v=WN3iuBYzBiY

7. Wilco, The Whole Love (dBpm/ANTI)
Say what you will about the band’s latest efforts, but a single listen to the "The Art Of Almost," the intro track of The Whole Love, was enough to rank it among my favorites this year. Check out a live video for the song below and judge for yourself. I got chills, they’re multiplyin’…

VIDEO: "Art Of Almost" (live)

http://www.youtube.com/watch?v=uz6UrYvacQk

8. Washed Out, Within And Without (Sub Pop)
This is 80s-influenced, melodic bliss that I can imagine listening to for years to come.

VIDEO: "Amor Fati"

http://www.youtube.com/watch?v=7fYnfE5Cycg

9. Noel Gallagher’s High Flying Birds, Self-titled (Sour Mash)
I am one of the few people I know that actually like the last two Oasis albums, and I much prefer the elder brother Gallagher’s voice to the overly nasal whine of frontman Liam. On his first solo effort it’s evident Noel’s musical talent runs deeper than his brother’s, and throughout Noel Gallagher’s High Flying Birds, he leads listeners through an amalgam of genres and styles that undoubtedly will please both his former band’s hardcore fans and attract the ones turned off by the siblings’ previous, much-publicized antics.

This review from MusicRadar sums it up best:

…The 10 songs on Noel Gallagher’s High Flying Birds rank
as the best set of material the singer-songwriter and guitarist
has assembled since (What’s The Story) Morning Glory? As
it is with the best of composers, the emotional buttons–desperate,
angry, joyful, melancholy and everything else–are right there
in plain sight, but the light and dark between the hues are swimming
about, too, and they’re up for grabs…

VIDEO: “AKA…What A Life!”

http://www.youtube.com/watch?v=d6m03FUYaTM

10. Pale, In The Time Of Dangerous Men (A Blake)
Houston rock band Pale is one of the most ambitious groups in town, and the band’s appetite for the big time is as big as their sound (and their videos). This album further proves that Blue October shouldn’t be the only rock band from Houston in the spotlight. Here’s what I wrote about the album in my review:

Last year, Pale released the single and video for "Catastrophic Skies." While the song wasn’t exactly a stretch for the band, there were brief hints of a musical shift in focus. In The Time Of Dangerous Men finds the foursome interjecting rawer-edged garage and danceable 80′s New Wave into the over-the-top bombast that’s defined the band’s music for years. For a band best known for its Muse-esque anthems, this is a surprising–albeit welcome–change…Pale always shoots big with its music. If 2007′s Mandatory Ambulance EP was the band moving forward, In The Time Of Dangerous Men is Pale propelling itself into a likely prosperous future.

VIDEO: “That Sinking Feeling”

http://www.youtube.com/watch?v=GEy8nwHGSb8

11. Dead Sons, Singles ("Berlin," "I Am The Lord", "Junk Room") / Boom Booom EP (Self-released)
I found out about this new-ish Sheffield, England, band during some South By Southwest-related searches, and the band’s dark and spacey, over-the-top psych-rock burrowed its way into my head this year. With nods to Black Rebel Motorcycle Club, The Brian Jonestown Massacre, and Kasabian, Dead Sons manages to one-up many of its peers. It’ll be interesting to watch this band grow in 2012.

VIDEO: "Berlin"

http://www.youtube.com/watch?v=HjwLXvfHSDc

12. Ryan Adams, Ashes & Fire (Pax-Am)
While Adams may never make another album that grabs me as much as Whiskeytown’s Stranger’s Almanac, I’ll never tire of listening to the music he creates. I often prefer his bands to his more mellow solo work, but there’s no denying the songcraft on Ashes & Fire. For the most part, Adams keep it pop-free and acoustic, with subtle nods to Jerry Garcia–who heavily influenced his past work with The Cardinals–and Bob Dylan (the latter most evident on "Ashes & Fire").

VIDEO: "Dirty Rain"

http://www.youtube.com/watch?v=A-Zcwdsl9fc

13. Alberta Cross, The Rolling Thunder EP (ATO)
Another great batch of Southern rock-influenced Britrock songs. Why these guys aren’t as well-known as My Morning Jacket, I’ll never know.

VIDEO: "Broken Side Of Time"

http://www.youtube.com/watch?v=gdXMuBLs1Xk

14. Thundercat, The Golden Age of Apocalypse (Brainfeeder)
Some crazy, funked-out electro-jazz you have to hear to believe, especially mind-blowing when you know that bassist Stephen Bruner also plays for punk legends Suicidal Tendencies. The obvious Jaco Pastorius influence makes …Apocaplyse even more special.

VIDEO: "For Love I Come"

http://www.youtube.com/watch?v=I8nuH6SKtNU

15. Pallers, The Sea Of Memories (Labrador)
One of the best things about the Internet, and digital music in general, is that I can find out about some random, 80s-influenced Scandinavian electronic band, buy the album on a whim based on some review I read, and it steadily becomes one of my favorites. Moody, yet not depressing, the songs on The Sea Of Memories are expertly crafted electro-pop that hearkens back to the 80s without being overly dancey. It’s mellow enough to appeal to those not really into electronic music, yet electronic enough for electro fans to savor.

VIDEO: "The Video Of Memories"

http://www.youtube.com/watch?v=98dqiyanxjQ

16. The War On Drugs, Slave Ambient (Secretly Canadian)
This is one of those albums people kept telling me about, and once I finally broke down and downloaded it I wondered why it had taken me so long. Pitchfork best described the album:

…it’s as if the Spiritualized and Springsteen albums filed alphabetically
next to one another in your record collection had melted together on a
hot August afternoon…

VIDEO: "Baby Missiles"

http://www.youtube.com/watch?v=rMToQg0vSds

17. Steven Wilson, Grace For Drowning (kscope)
When he’s not fronting prog rockers Porcupine Tree, making music with side projects Blackfield and No-Man, or producing remastered King Crimson and Jethro Tull albums, Wilson somehow finds the time to create impressive solo work as well. Grace
For Drowning is not so much a departure from Wilson’s other ventures as it is an extension of them, with somber and progressive jams taking center stage, and an experimental jazz influence apparent throughout. The soundscapes from his initial solo outing Insurgentes have given way to better-formed songs, best evicenced by "Deform To Form A Star" and the 23-plus-minute jam "Raider II."

LISTEN: "Deform To Form A Star"

VIDEO: "Index"

http://www.youtube.com/watch?v=dte3-sSkWic

18. The Answer Page, Orca (Self-released)
A newbie on the Houston music front, musician Nate McKee penned an excellent break-up album that I found hard to put down once I heard it. Here’s what I wrote in my review of Orca:

The songs on Orca document the disintegration of a relationship and a man ultimately coming to terms with being alone. McKee, who not only played all of the instruments but produced, mixed, and mastered the album as well, takes the finer points of the "post-rock" genre–the slow, melodic guitars and gradually building tempos–and adds vocals that complement, but never overpower, his songs. Lyrically, the album starts off with the "all we need is love" adage that so often collapses in on itself in youth. Listeners will easily relate to "Shimmer"’s "Roll the windows down, let’s leave behind / the things we worried about / no one can ever hurt us here…the summer’s everlasting" heartfelt sentiment. But love quickly deteriorates, and most of Orca finds McKee in reflective solitude, pining away for his lost love. "Cold Blue Light (In Circles)" and "Our Words Without Meaning" (on which he sings, "It’s not the end if I fall in love with the sound of everything undone") best chronicles this loneliness, and listening to Orca is best when taken as a solitary experience, the better to get entwined with the songs’ swirling guitars and moody, echoing vocals.

MP3: "Shimmer"

19. The Damnwells, No One Listens To The Band Anymore (PledgeMusic)
The band we formerly knew as The Damnwells is gone, the victim of bad record deals and musicians growing older. But frontman (and primary songwriter) Alex Dezen remains at the helm of a rotating cast of musicians, and thankfully the music hasn’t suffered. Here’s what I wrote about the album:

No One Listens To The Band Anymore contains some of Dezen’s best songwriting to date (on "Werewolves" and "The Same Way"), and while the band created the album without label influence or interference nothing in its sound seems to have changed. Not that it’s a bad thing, mind you. The band keeps it mostly low-key throughout, understandable given Dezen likely wrote much of the album acoustically. He also continues his use of humor to make a point, such as on "The Great Unknown" ("Oh beautiful for spacious skies / what a shitty soundtrack of our lives…"), and remains adept at writing hooks–not that the general public ever paid attention (see the Golden Days documentary for more on the band’s past). The album suffers lyrically in spots, most notably on "She Goes Around" ("Yeah, she goes around-round / She goes up, down, and she’s goes around / Yeah, she goes around-round / I go up, down, and she goes around"). But this is a minor offense on an otherwise thoughtful album. What ultimately sticks are catchy songs like "Feast of Hearts" and "The Monster," which listeners will be humming for hours after listening.

VIDEO: “Werewolves” (bad video, great song)

http://www.youtube.com/watch?v=_e8rC8809u8

20. Sideshow Tramps, Revelator (ZenHill)
This Houston-based collective is made up of some of the city’s finest–and hard-working–musicians whose live shows are frenzied and demand crowd participation. The songs on Revelator are reworked versions of previously unreleased recording sessions, and the extra attention was obviously well-spent. The band’s music is hard to pin down, but there’s a classic quality to the Tramp’s sound, with touches of folk, old soul, and downhome country. Whatever it is, there’s no denying its originality.

VIDEOS: "Tramps and Freaks" (live)

http://www.youtube.com/watch?v=PXBkcvRhh-I

What were some of your favorites this year? Feel free to a comment or send me an email.

Also, please be sure to check back soon for Houston Calling‘s favorite Houston releases of 2011.

The songs on Orca document the disintegration of a relationship and a man ultimately coming to terms with being alone. McKee, who not only played all of the instruments but produced, mixed, and mastered the album as well, takes the finer points of the “post-rock” genre–the slow, melodic guitars and gradually building tempos–and adds vocals that complement, but never overpower, his songs. Lyrically, the album starts off with the “all we need is love” adage that so often collapses in on itself in youth. Listeners will easily relate to “Shimmer”‘s “Roll the windows down, let’s leave behind / the things we worried about / no one can ever hurt us here…the summer’s everlasting” heartfelt sentiment. But love quickly deteriorates, and most of Orca finds McKee in reflective solitude, pining away for his lost love. “Cold Blue Light (In Circles)” and “Our Words Without Meaning” (on which he sings, “It’s not the end if I fall in love with the sound of everything undone”) best chronicles this loneliness, and listening to Orca is best when taken as a solitary experience, the better to get entwined with the songs’ swirling guitars and moody, echoing vocals.

One of the strongest things about the album is how the songs burrow into the listener’s head, almost forcing focus. Unlike some of the music by better-known instrumental rockers like Mogwai or Explosions In The Sky (obvious influences on The Answer Page’s music, along with Sonic Youth and My Bloody Valentine), Orca is not content to be background music, and the album’s intricacies–along with the raw emotion of the lyrics–help keep the weight from dragging it down.

People eventually pick themselves up and move on, and the eight-plus minute “Torch Song” finds McKee finally coming out of the funk. “It’s been a long time since I’ve wondered how you are…I’m not carrying this torch for you / I’m not falling down / I don’t miss you anymore,” he sings. We’ve all been there, but not everyone can put it to such wonderfully addicting music.

Listen to and purchase the album on Bandcamp.

I recently asked McKee a few questions about The Answer Page, his musical background, and plans for playing Orca live in Houston.

Houston Calling: You’ve been in Houston a few years now but this is the first we’re hearing from you, music-wise. What prompted the move to Houston and what was your inspiration for the songs on Orca?

Nate McKee: I moved to Houston in 2008 for work but I grew up in Missouri and spent several years in Lawrence, Kansas, for school prior to the move. I’ve come to love Houston and it’s been really exciting to experience a new music scene.

Orca is about a relationship I was in a while ago and the album is kind of a soundtrack to it. It’s chronological from beginning to end and the goal was to try to cover all of the stages of that relationship through songs that would convey the emotions at each stage of it. Some of the tracks on Orca were originally a series of demos and experiments that turned into a larger project to see whether or not I could compose and record full songs on my own in my spare bedroom without a producer. After five or so were finished, I felt like I really wanted  to turn it into something more complete, and that’s how Orca came to be.

HC: You’ve played in bands before, right?

Yeah, I’ve played quite a bit but not in Houston yet. I played drums in a band called Ten Hour Drive back in Lawrence for about 4 years. We played lots of live shows, did some studio and DIY recording, filmed a few videos, etc. I had a lot of fun with those guys and learned a lot about performing from playing tons of shows, getting over stage fright the best I could, and trying to have fun with it and not get too wrapped up in perfectionism. Though I attribute most of my skills with the production elements from recordings we worked on towards the end of my time with that band. We got pretty experimental for a while and at one point decided to do everything ourselves. It was out of that necessity that I taught myself how to get by with the recording gear we had available.

HC: I like the “shoegazey” and “post-rock” aspects of your music. What do you consider to be your primary musical influences and how do you think they play into your music?

NM: I grew up listening to all kinds of stuff: Q and not U, Sonic Youth, Glassjaw, Bjork, Boards of Canada, and lots of other bands that probably didn’t seem to flow together real well. I think that because I started playing guitar about 17 years ago while I was listening to some of those different bands with little regard to genre or anything like that, I got a lot of exposure to different styles of songwriting and composition. Later in life I got really, really into …And You Will Know Us by the Trail of Dead, My Bloody Valentine, Mogwai, and some of the earlier Appleseed Cast albums while I lived in Lawrence several years ago. I started getting drawn into really dramatic and expansive music and I think it’s what led me to post-rock and shoegaze type stuff when I was writing. In all honesty, I had no idea how much some of those influences had come out in my music until I heard the final product and could really pick out elements that felt inspired by those bands.

HC: You wrote and played all the instruments on Orca, right? Have you had any success putting together a solid line-up for live shows yet?

NM: Not yet, though I have convinced my best friend Allen to play bass with me when I finally get a band together. For me, it’s always been important to make sure that I’ve got a really good personal connection with my band mates so it may take me a little longer to put something together that feels comfortable, but my goal is to be playing shows by next spring after lots of practicing and probably some work on a new album. 

HC: What are your plans for spreading the word about the album? I’d hate for people to miss out on it — I’ve really enjoyed it so far.

NM: So far it’s mostly been word of mouth through friends, social networking, and some really kind bloggers and reviewers that picked up on it not long after it was released in July. I got featured on Get Off The Coast, Cactus Mouth, Altered Zones, and BIRP.fm, and after those posts went up, I got a lot of attention from other bloggers and places like Soundcloud, last.fm, and Bandcamp. It’s been a little strange because since I hadn’t played any shows in Houston, I didn’t have an opportunity to spread the word here as easily and that’s what I’m working on now. I’ve got copies in stock at Sound Exchange and at Soundwaves as well and I’m working on meeting more people here all the time…

HC: How are you using the internet and social media as tools to market The Answer Page?

NM: Social media has been HUGE in my marketing so far. In fact, all of it has been either word of mouth through my family and friends or as a result of using Facebook, Twitter, Bandcamp, Soundcloud, and to an extent Myspace. There are so many music lovers that use some or all of those services and if you can have a presence on all of them, you can really start building a big network of supporters and fans. The coolest part is that all of those services are really good about spreading the word when you meet friends and fans that are really into what you’re doing. I’m 100% fortunate that I’ve had the chance to meet as many people as quickly as I did. I don’t think I’d have had near as much luck without social media tools, especially without playing live shows yet.

HC: In your experience, how do you view Houston’s musical climate?

NM: I think that there are a lot of really exciting things happening in Houston right now. In the three years I’ve been here, I’ve seen a ton of amazing live shows and have even watched some really interesting things develop like the emergence of witch-house music care of DISARO records last year before it moved out to L.A. I’ve found that there are a lot of bands getting out and playing shows and being part of the scene in that way and there are also a whole lot of underground and DIY acts that are getting some national attention too. It’s really great to see a lot of crowd support for local music in addition to the big touring acts that come through town. I’m still new to this scene in many ways but I really enjoy it here. I love the creative and industrious spirit I see in a lot of Houston bands I’ve watched live.

HC: If you could have any band cover one of your songs, what song would it be and what band?

NM: Oh man, this is a hard question. As hard as this one is to answer, I think I would pick “The Two Trees” to be covered by The Breeders. I originally wanted to say Q and Not U to cover the same song, but I remember getting Last Splash on cassette back in ’94 or so and playing the hell out of it to the point that the tape was all crappy and I eventually bought it on CD. I hadn’t even bought my first guitar yet and I’d never touched a drum-set but I remember as a pretty young kid (I was in 4^th grade, I think) pretending that I was in that band and wishing I knew how to slay a rock song like Kim Deal. My goal with “The Two Trees” was to have a loud and upbeat song that could open the album and Kim is an absolute genius at that.

HC: What are some of the local bands you’ve been enjoying lately?

NM: I’ve recently discovered Children of Pop and Drowner, both of which I found online and have really dug what they’ve got going on. I also saw Scale the Summit and Spain Colored Orange a few times over the past year and have always really enjoyed their live set and the energy that they can convey to the crowd. I had my face completely melted off by Scale the Summit at Ghoulsfest last year and was in awe at their musical chops and ability to play a seriously tight live set with the brutal sun in their faces. Finally, even though they broke up a while ago, I keep a copy of The Jonbenet – Ugly/Heartless in or around any stereo I own because it’s one of those albums that regardless of how much I’ve heard it I can’t seem to get tired of it. I can’t stress enough how sad I am that I never got to see them live in Houston (though I did once when they toured in Lawrence).

HC: What’s in your CD player/iTunes/etc right now? Anything to recommend?

NM: I’ve been listening to a lot of Active Child – You Are All I See, The Jonbenet – Ugly/Heartless, Red Alder – Dissociation, Dom – Family of Love, Daughters – S/T, Mogwai – Rock Action (it’s a classic!), and a lot of the new JSHIH, Vehicle Blues, and Pariah Carey tracks. And because of the recent news about R.E.M., I’ve been listening to R.E.M. – Out of Time quite a bit too.

I’d definitely recommend that people take time to listen to some of the great up-and-coming acts out there in Houston and on the internet like Drowner, Children of Pop, Vehicle, Blues, JSHIH, Pariah Carey, Red Alder, etc. If you want to discover more, scour Bandcamp and music blogs — there’s a ton out there right now.

Thanks to Nate McKee of The Answer Page for taking the time out to answer these questions. Check out The Answer Page’s music on Soundcloud. Find out more about the band on Facebook. Buy Orca on CD in Houston at Soundwaves and Sound Exchange–or buy it digitally on iTunes or Bandcamp.

English band Kaiser Chiefs plays in Houston on 9.19.11 at the House of Blues with Walk the Moon. The Chiefs released its new album, The Future Is Medieval, earlier this year in one of the most interesting ways I’ve seen–they let you choose the songs you want to buy for a unique version of the album from a pool of 20 songs. The site also allows you to “design” your own artwork for the album. Check it out at www.kaiserchiefs.com.

For the less adventurous, you can also buy the album online in the usual spots.

Here the video for “Little Shocks”:

http://www.youtube.com/watch?v=Tt4JGk6pn2U

Tickets to the show are available via LiveNation.