Let me just put this on the table and then back it up with some facts: Shearwater are the best “new” (to the indie-mainstream) band in the world right now. Like Spoon’s Ga Ga Ga Ga Ga last year, Shearwater answered their newfound media attention with an album that completely surpassed all expectations, one that will probably go down in the books as the best album of the year (of course, I’m talking about Rook here). Jonathan Meiburg is perfect: he has a knack for weaving intricate and often delicate music into an ether of pure energy, cycling seamlessly from crystalline falsetto and string arrangements to caustic guitar tones and barbarian howls, holding the creative reigns of an extremely talented set of musicians and pushing the possibilities to the extremes; perfect.

To see Shearwater live, as I did once again this past week, is to see the amazing qualities of the band all Gestalt-ed into one grand performance. I was initially worried that, playing outdoor at the Mohawk, the performance would not live up to the one the band gave a couple months ago at The Parish, where they presented Rook in its entirety, hiring on a harpist and various string players to fill in the gaps left by the core members. Unfortunately, this largely proved to be true: the sound quality at the Mohawk wasn’t stellar (it seemed that the right channel was faltering mid-way through the show, and the e-piano was mixed insultingly high), and many of the intricacies of the past show that I was hoping to relive were lost somewhere in summer night.

First of all, I know I’ve been out of touch lately, with hardly any posts up, so let me apologize for my absence, but also suggest that you check out some of the other great sources of music we have linked to in our “Links” section off to the side whenever we’re out of the office.

Second, and more importantly, Living On The Other Side, this new album by The Donkeys, is a must listen for fans of good Americana music. And guess what: they’re playing Wednesday night right here at the Mohawk in Austin on the second stop of their cross-country tour supporting the new album.

The Donkeys are experts at musical progress, channeling the music of their elders with pride while still making considerable creative progress in their own right. Owing their musical direction to time-tested Americana traditions, most of the album tends to sounds vaguely familiar to the undiscerning listener, like a Blues record that got lost in an extensive collection, unheard for years. That sense of familiarity is the genius of a band like The Donkeys: it’s clearly not a ripoff - you can never put my finger on exactly which band they sound like - but it embraces the spirit of its influences (the ones Americana has been preaching for years), placing that spirit at the album’s core and building freshly from their. It’s no surprise then that even with repeated listens there is still that sense of familiarity and Americana identity.

To describe the band any further would probably do their music even more of an injustice, so I’ll hand it over to The Donkeys after the jump, where you can download “Walk Through A Cloud” and “Nice Train” straight off the new album. If you like what you hear, be sure to head out to the show tonight at the Mohawk. They’ll be playing with local acts Golden Bear and Visitors (who also come highly recommended).

Music, tour dates and more after the jump.

Note: This review was originally posted on Austin Sound, but is the original work of the author. -Ed.

If local thrift stores selling old pearl snaps along side vintage instruments wasn’t enough to convince you that Austin might be a town that values a “revival” spirit, the Jungle Rockers might be the kick in the 40-year-old Levis you need. In fact, the new EP by the Jungle Rockers, which follows in the footsteps of last year’s eponymous debut, would be more at home on the shelves of one of a hundred “vintage” stores, or perhaps even your dad’s record collection, than next to most new music today. While venturing into the same territory as thousands of garage bands across America, the Jungle Rockers recreate a bygone era with striking success; but whether or not mere revival of the classics is cause for celebration hinges on a simple question you should probably ask yourself: Am I looking for one hell of a rockin’ good time?

Chicago/NY duo French Horn Rebellion recently did a remix of a band we featured a little while ago, This Is Ivy League (we included the track below). But the band, which features the Brothers Perlick-Molinari, David you you might know as the producer of first MGMT EP, also have a brand new full-length out now, which they’re supporting with a tour this fall.

I don’t know a whole lot about the band, and I was quite honestly a little disappointed when their music didn’t include any (identifiable) french horns, but their music is certainly fun, and made me dance a little bit in my desk chair, which is enough for me. Check out the track “Up All Night” from the new album (which sounds like a seizure-laced acid trip) and their remix of “London Bridges” (which sounds like the end credits to a Sega Genesis game) after the jump.

They won’t be playing in Austin, but they will be through Dallas if anyone up North is interested, at The Door on August 30th. Now, if you’ll excuse me, I’m going to go play more John Madden Football ‘92.

Through a veil of snare fills and murky feedback, Preteen Weaponry stammers into existence. This umpteenth album from Oneida is meant to be listened to as one song, divided nicely into three distinct parts (or “movements” if you prefer), all recorded in the same day. It’s slow and persistent, a challenging album at best, but one of the most intelligent and primitively enjoyable releases of the year from a band who’s never received even half the credit they deserve.

Flip through the liner notes and you’ll find them bleak: a few short notes on recording and mastering, a landscape collage, and then, most importantly, album art that more closely mimics and enhances it’s encased record than any art I’ve seen in a while. Unfolded, the cover art is the picture you see above (sorry about the flash), a design apparently by Dan Schechter. Flowing forth from a cloud is a twisted knot of haze, six even lines down its side, like the fretboard of a guitar. Growing from the falling haze are mountains built of dots and lines, perfect geometry arranged in a flowing, natural pattern. The art is gorgeous in its own right.

My initial thoughts on hearing “Los Dos Bros” concerned the close and unfortunate similarity between their name and “Los Dude-Bros”, which is a) hilarious, and b) my least favorite sub-demographic of white people. As such, I was thoroughly perplexed when I found out their new album Songs For Feeling Strong wasn’t a ode to Forty’s, , and . In fact, it’s one of those albums that a) kind of sounds like classic rock but has enough violins, horns and good lyrics to shy away from the oldies-tribute genre, and b) is really good.

The Los Dos Bros formed in March of this year out of the remnants of HATAPCO (aka Holiday and the Adventure Pop Collective) following the abandonment of their drummer while on tour with Louis XIV. Now only half a year later, the duo have two releases out: a full length titled Greek Gods in the West and the shorter Songs For Feeling Strong (from which I pulled “Start All Over Again”).

“Start All Over Again” is a good sampling of the album as a whole. Bearing the inviting warmth of the analog 24-track to which it was recorded, “Start All Over Again” is equal parts pop music, with sweet melodies and strong vocals, and something entirely different, with pseudo-psychedelic guitar tones and torrential buildups. There’s nothing better than a band prepared to keep their listeners entertained while still venturing to cover new ground. Los Dos Bros do just that (and record it all to tape too).

Check out “Start All Over Again” after the jump, as well as another cut from the album, “Time Changes Everything” (originally a Tommy Duncan song), which sounds like it may as well be a lost track from Cake’s Comfort Eagle.

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