PRAISE FOR "EASY LIVING"

From Austin Sound:

"In 2007, the Archibalds released their excellent but little heard debut O Camellia, which was an eclectic romp of southern music styles. Incorporating head Archibald Joey Thompson’s southern rock and country leanings with bassist and meticulous Superpop! producer Seth Gibbs’ love of Screw hip-hop and club hits, the result was an impressive genre-bending sound that fell alongside the Gourds for sheer virtuosity and surprise. Add to that Pete Stafford’s lap steel and clever lyrics that unwind white trash tales in vivid detail, and the local quartet has proven one of the most inventive and exciting young bands in town. Their sophomore LP, Easy Living impressively follows suit, but with much more focus and direction.

Easy Living doesn’t quite have the unexpected pop of O Camellia, but is countered with more polish and control. The eccentricities still emerge, but most of all the driving force of the Archibalds is the kind of irreverent fun and eclecticism that was perhaps best characterized by Doug Sahm, who is also clearly an influence here. The album opens with the rocking piano number “Me & Your Sister,” which drowns the vocals a bit too much in the mix, but sets up the loping groove of the album well. “Gold Teeth” picks up that laid back small town vibe with an opening blues harmonica overlaid with a sample from some kind of street interview before loosening into Beck-like bounce.

The world that Thompson evokes is one of small time hustlers and trailer park reality that calls upon his Alabama roots, but it’s the touch of Gibb’s more Houston influenced outlook that seems to really draw out the best songs, like “Hood Rats.” The song is steady and mellow as Thompson and Gibbs harmonize across lines like: “That barrio bass is bumpin’, down on the street. Now put on that makeup you bought, and listen to my beats.” The song actually has a beautiful lilt to it, and is something of a love (or at least seduction) ode, but with that twisted touch that unloads with complete sincerity, “I wish you were a little bit older, I wish you were on the pill.” Perhaps the reason that the Archibalds’ songs work so well is that they poignantly paint the run down places and people with an affectionate brush. Like the group’s mesh of styles, the balance of down-and-out tales told with an exuberant and celebratory flourish walks a fine line, but the Achibalds manage to tread it perfectly.

The instrumental waltzing number “Milking the Cow” sits as centerpiece to the album and feels a bit odd, but leads into the soulful title track well. Likewise, “Come On In” draws out a swampy blues behind a thumping bass line that explodes into groaning electric guitar. While a few rockers like the Calexico-esque rush of “You Tell Me” and Little Feet touch of “Sorry for Your Loss” give the album some punch, the Archibalds are most comfortable, at least on record, with the easier lilt. That being said, though, the real surprise of the album is the broken ballad “High Water,” which aches as Thompson adopts a lower, mournful tone. The Archibalds have delivered an excellent follow up album and one that manages to preserve their fundamental eclecticism while establishing a more coherent sound."

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PRAISE FOR "O CAMELLIA"

"The songs explore a familiar small-town malaise as filtered through the astute eyes and ears of Alabama native Joey Thompson, who drapes disillusion in the banjo and steel-laden missive "Muzzleloading Evangelicals" and Beck-inspired country of "Meth Mouth" and "Opelika." "Back Home" rolls like the Band before slipping into "Sinking Ships" zydeco stomp, while "Bettin' on the Dogs" plies a slow-burn blues and "Rain and Thunder" even kicks with a touch of soulful hip-hop. But most impressive is that the Archibalds cull these influences into an altogether cohesive, and infectious, sound." -- Texas Music Magazine

"In yet another exceptional offering from the Superpop! crew, the Archibalds’ debut album, O’ Camellia, winds its way through a stew of southern influences, at times recalling the classic southern-rock balladry of the Allman Brothers and at others sounding like the illegitimate offspring of the Gourds (because the Gourds have no legitimate offspring, of course). With Cajun flourishes, a shade of Muscle Shoals’ R&B soul, Beck’s experimental folk, and dense, often hilarious lyrics, the group manages to expertly cull its array of influences into something altogether new and immensely catchy." -- AustinSound.net