Wednesday 30 Jul
 
 

Sobering sounds

Copperheads with Depth & Current, Dudes of America and Oblivious

10 p.m. Saturday

Opolis

113 N. Crawford Ave., Norman

opolis.org

447-3417

$7

07/30/2014 | Comments 0

Pony expression

Wild Ponies

8 p.m. Sunday

The Blue Door

2805 N. McKinley Ave.

bluedoorokc.com

524-0738

$15

07/30/2014 | Comments 0

Music Made Me: Josh Hogsett

Few, if any, Oklahoma bands have seen a rise as meteoric as Tallows over the past year, yet its seemingly overnight ascension didn’t happen by chance. The Oklahoma City four-piece is well-versed in the ways of modern pop songwriting, drawing from both glitchy electronica and cathartic indie rock in equal measure. Last year, the band pulled off a rare musical feat with its debut album, Memory Marrow, which was steeped heavily in the breadth of recent history yet managed to sound like nothing else before it.
07/30/2014 | Comments 0

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Friday-Saturday
Downtown Tulsa 
centeroftheuniversefestival.com 
$35-$50 

07/22/2014 | Comments 0
Home · Articles · Reviews · Indie · Tony Brown's Happy Hour' The...
Indie
 

Tony Brown's Happy Hour' The Samson Mammoth


None December 2nd, 2010

tonybrown_7-06x7-06cm
Oklahoma City indie band Tony Brown's Happy Hour leans toward the stark coldness of Pink Floyd psychedelia instead of the woozy distortion of Haight-Ashbury psychedelia on its debut album, "The Samson Mammoth."

While some distorted, bright moments appear early in the record, the majority of the album focuses on acoustic guitar, piano, simple drumming and intermittent keys, best personified by the standout track, "My Demons and I." So committed are the members of Happy Hour to the space and precision of the mood that they insert a full stop of five seconds for dramatic effect. It works.

While the moods invoked are icy ones, the songs are by no means devoid of emotion. The acoustic "Sincerely L. Brown" comes off like a murder ballad, while retaining connection to the rest of the album through the heavy reverb on the low vocals. "Hit Songs of the Summer" invokes a similar mood, but with more synth backdrop.
Coldness doesn't mean slow and static, either; "Some Days I Don't Care" is propelled by a pressing bass line and relentless piano riff.  

As with almost any debut, some songs miss the mark in terms of mood. But the majority of the tunes on "The Samson Mammoth" are well-constructed and contribute to the flow of the album. With "My Demons and I" and "Some Days I Don't Care" as anchors, "Mammoth" marks an excellent hello from Tony Brown's Happy Hour to the metro music scene. "”Stephen Carradini
 
  • Currently 3.5/5 Stars.
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