First up to bat was fellow California natives, Tashaki Miyaki. Before the trio even began to play, the immediate impression was that this is a band who pays attention to the details. They wanted to put on a show, not just sonically, but visually as well. The stage was adorned with string lights as well as fake white flowers, which could also be found atop the heads of the female members (comprising 2/3 of the band). In addition to this, above their heads, they had an elaborate video reel projection, made up of clips of various old films, which complemented the music harmoniously. In terms of sound, Tashaki Miyaki is very reminiscent of Dum Dum Girls, both in frontwoman Lucy’s sultry vocals, akin to those of Dee Dee Penny, as well as their reverb-laden noise pop. The highlight of their set was when they brought out a couple of the members of the headlining band to join them for a song. Most definitely an act to watch in the coming years.

And now, on to the main act. Also, choosing to incorporate a visual element, a video was being projected during the Allah-Las’ set, but rather than old films, all you could see was the view of a wide open road as you travelled along, letting the music take you for a ride. Their laidback style was completely cohesive with the laidback, lo-fi quality of the music.

The Allah-Las have been making a steady rise in popularity over the past few of years, since they debuted their first single back in 2011. This rise in popularity was more than evident in the loyal Chicago fans, who were buzzing with an eager energy. The group’s sound was clean live, as each member juggled vocals and instrumentation seamlessly. The set included a good mix of titles from their new album, Worship the Sun, as well as old favourites from their self-titled debut, such as “Catamaran.” The entire crowd was in tune with each song, dancing along and swaying with each new melody. Everything from their sound to their stage presence was on point.

We may have a long winter ahead, but with their beachy tunes and infectious spirits, The Allah-Las were able to give Chicago a little warmth, even if only for one night.

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With such a significant gap between albums, the most prevalent question on fans’ minds will be that of sound and just how significantly it has evolved or changed (if at all). With the amount of life to be lived between In Our Nature and Vestiges, growth is inevitable. This being said, González has managed to recapture a sound that is distinctively his own and reminiscent to past projects, whether from his solo work or with his band Junip. Rather than completely reinventing himself, González has taken a formula that works for him and has simply elaborated on it, producing an end product that is both lovely and welcoming.

Album opener, “With the Ink of a Ghost,” is a perfect example of this sweet, nostalgic quality. The track gently eases the listener in with skillful guitar chords and the introduction of González’s characteristically warm and ethereal vocals. The beauty of the track doesn’t hit you, but rather flows through you and around you like a gentle current. The following track, “Let It Carry You,” immediately gets you moving with a beat that, while still gentle, is infectious. I challenge you to listen to the entire track without bobbing your head or tapping your feet.

In an album as accomplished as Vestiges & Claws, it is difficult to choose a standout track. If there is one that stands taller than the rest, it is “Stories We Build, Stories We Tell.” Similar to “Crosses” from the debut album Veneer, “Stories We Build” manages to pack a punch both sonically and emotionally amidst an album that is otherwise so serene.

There are plenty of other eloquent moments throughout the effort. One of these moments can be found on the track “What Will” in which González namechecks the album as he softly sings, “Vestiges and claws/ fight for a common cause/ Refining without pause/ Fight for a common cause.” The poeticism in Gonzalez’s lyrics is entirely harmonious with the lovely quality of his vocals.

With Junip hard at work, producing three albums in four years, González’s solo work had previously been put on pause. Whether you’ve been a fan since the moment you heard “Heartbeats” or you’re just becoming acquainted with José González, Vestiges & Claws is an album you’ll want to add to your collection. Scheduled release date: February 17, 2015.

The post José González: “Vestiges & Claws” album preview appeared first on Quip Magazine.