Denton quartet Relick doesn’t bludgeon the listener with its formidable abilities.
Instead, this skilled foursome methodically deploys its arsenal — Amber Nicholson’s tough, tart, tender vocals; a subtle fusion of ragged alt-rock and gossamer ’60s pop — so that by the time Relick’s debut EP, Twin House, fades out, you’re hopelessly hooked.
Nicholson is joined by Matt Hibbard, Andy Rogers and Anthony Corsaro, who unleaven the light with a little dark — I Wouldn’t Lie to You has some faintly sinister undercurrents lurking beneath the big, open chords — and display a confidence belying the band’s relatively new status.
In blurring the stylistic lines between old and new, Relick makes music you’ve never heard before that feels as if you have. (Nicholson and Hibbard pulled double duty, also producing the six-track EP.) The band is working on a full-length, which is good news, because you’ll likely have worn out Twin House by the time its follow-up materializes. Relick’s next area gig is April 1, with Pony Kicks, at J&J’s in Denton.
The Wild Feathers, ‘Lonely Is a Lifetime’
Austin-via-Nashville four-piece the Wild Feathers, which counts among its ranks Richardson native Taylor Burns, has resurfaced on Warner Bros. Records for its sophomore major-label effort ( Interscope released the Wild Feathers’ self-titled 2013 debut). More than the label has changed — Lonely Is a Lifetime finds the rockers pivoting away from the earthy, twangy atmosphere of the first album, and toward something bigger, more cinematic and lushly melodic. (The gorgeous Sleepers best captures the shift.) While the move suits the band, it also robs it of what made these Feathers stand out to begin with. The Wild Feathers will celebrate Lifetime’s release Sunday, with support from Bird Dog, at Dallas’ Kessler Theater.
Andy Meadows, ‘Modern Day Crooner’
It’s as if Arlington singer Andy Meadows heard me when I opined last fall: “[Meadows’ EP Never Be the] Same is far too short — the sonic equivalent of draining an impeccably made martini, only to discover the bartender is nowhere in sight to refill your glass.” Less than six months later, Meadows is back with a full-length recording, expanding upon Same’s ample charms and giving listeners more of his smooth, rustic jazz, a hybrid few others in the area dare tackle. Modern Day Crooner is the proper follow-up to Meadows’ 2010 debut, Give Me a Microphone, and the sophomore slump is nowhere in sight. Meadows’ songs spill like satin from the speakers, the cosmopolitan and the cowboy in close, easy proximity.