HTRK – WORK (work, work) [Album Review]

Australian duo HTRK‘s new album WORK (work, work) is a strange and curious beast. It is a pop record, in that the songs are really songs (some are even hummable), and the themes revolve around the quintessential pop subject matter: feelings. But, the feelings described on this album are far more uncomfortable and complex than those tolerated by most mainstream pop music.

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Mister Heavenly @ The Independent 8/22/2011 [Review]

For what is essentially little more than a fun, tossed-off sidestep of several more high-profile projects, Monday night’s performance at The Independent nevertheless proved Mister Heavenly to be a unique and welcome addition to its members’ collective resume. Comprised of Ryan Kattner (aka Honus Honus of Man Man), Nick Thorburn (Islands, The Unicorns) and Joe Plummer (Modest Mouse), the trio played a short but sweet set of 1950s-tinged indie rock that lived up to its self-described “doom-wop” sound.

Photo by Jacqueline DiMilia.

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Luke Temple – Don’t Act Like You Don’t Care [Album Review]

The eventseekr team had some awesome interns that regularly contributed to the blog this summer, but we also had awesome interns all throughout the office working in the other departments. We asked those who didn’t get a chance to contribute to write reviews of recent albums that struck their fancy. First was indie-rock group A Lull‘s Confetti, written up by Janelle Gleason, then Sharon Kim’s review of Cloud Control‘s Bliss Release, and most recently Lauren Espina’s review of Trap Gold‘s The Chooser EP. The fourth and final of these album reviews is Christina Galarnaeu’s review of Luke Temple‘s Don’t Act Like You Don’t Care.

Luke Temple originally made a splash in the indie-folk scene in 2004 when he was signed to Mill Pond Records, based in Seattle. His first full length album off Mill Pond, Hold a Match to a Gasoline World, was in line with the Northwestern indie scene, which was filled with sensitive and emotional youngsters with tattoos and piercings. In 2009 Temple decided to change his sound and released a full length album with his band, Here We Go Magic. His collaborative work has a much edgier and poppier sound than Temple’s soulful, soft solo work. Here We Go Magic’s Pigeons showcased a new side of Temple’s creative ability while he explored and expanded his musical portfolio. However, Temple kept to his folksy roots for his newly released solo album, Don’t Act Like You Don’t Care.

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Trap Gold – The Chooser [Album Review]

Last week, we published album reviews by a couple of our summer interns. Janelle Gleason reviewed indie-rock group A Lull‘s Confetti, and Sharon Kim reviewed Cloud Control’s Bliss Release. After the jump is Lauren Espina’s review of Trap Gold‘s The Chooser EP.

I hate to make generalizations, but the music scene in the Los Angeles suburb I grew up in was not what I would call, in any way, alternative. It was catchy, fun and very easy to listen to. Of course I attended my fair share of A New Found Glory shows and drove around blasting Ja Rule and Nelly on the radio. What can I say? It was the early 2000s in “the valley.” It wasn’t long before all the emo, ringtone rap and tween pop had me pining for something with a rawer taste and sharper edges. I’m talking about real rock music. The Velvet Underground, The Who and The Stooges are prime examples of rock that are all, sadly, now in the past. However, like The White Stripes, The Hives and Yeah Yeah Yeahs, San Diego’s Trap Gold gives me further validation that real, hard-hitting rock music with bad-ass vocals is not a luxury of the past. The four-piece band has all the grain and filth that I look for in a garage rock band.

The Chooser EP album cover. Album cover art by Andrew McGranahan.

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