"The guys in Audacity don't really waste any time being subtle or tricky. They just blast through their punky, poppy, garagey songs like they are all in a race to see who finishes first. Previous albums have been fun and loud, capable of knocking paint chips off the walls of rundown clubs and basements. The preceding one, 2013's Butter Knife, added a little bit of power pop and scraped off a few of the rough edges. Hyper Vessels tones down the pop and slaps the noise back on. With Ty Segall in the producer's chair, there's no fear that they'll take it too far and make something slick and safe. Instead, he gets a massive, scuffed-up, and powerful sound out of the band. Guitarists Matt Schmalfeld and Kyle Gibson are the heroes here, wrenching ugly noise, slashing chords, and gnarly riffs out of the instruments. Even if the songs were on the boring side, the album would be worth hearing just for their efforts. Luckily, the band cranks out a batch of high-energy rockers, stomping hard rock, and the occasional almost pop song, all of them with giant, grabby hooks. The sound and songs combine into a juggernaut of garage punk that's set to fold, spindle, and mutilate, while still being fun enough to have hardy listeners bopping along. There are more bands doing this in 2016 than the sharpest mathematician could count; some of them are pedestrian, some of them are total freaks, some of them make all the right rock & roll moves. You can count Audacity among the latter and thank Ty Segall (and co-producer Isaac Thotz) for wringing greatness out of them on Hyper Vessels." - Tim Sendra
Audacity - Hyper Vessels - New LP
"From the opening bedlam of barnburner "Counting The Days", Audacity demonstrate that while their songwriting has become more nuanced, their delivery has gotten more savagely precise. With recording duties handled by longtime friend and tourmate Ty Segall, Audacity sound like they've finally found someone who can capture the frenetic drive of a song like "Hypo", the off-kilter hook of "Riot Train", the undeniable melodic appeal of "Fire", and the cowpunk influence of "Previous Cast". It can be tricky to juggle the bubblegum with the piss-and-vinegar, but it's a duality Audacity embraces, "I feel like we get portrayed a lot as a sunshine-y, carefree California band," Gibson says "But lots of our songs deal with melodramatic subject matter. The fact we've all lived in Fullerton pretty much the whole time we've been in the band has some effect on the music. Driving around town, there's a memory or a ghost on every street. People die or move away or get in trouble, or groups of friends drift apart and start hating each other and get in fights. It's not demoralizing; it's a part of life, but of course it affects the music." That frustration manifests itself on songs like "Overrated", where you can almost hear the spit and sweat hitting the microphone. But then they turn around and bask in the unapologetically gratuitous pop swagger of album closer "Lock On The Door". By the time Hyper Vessels comes to close, you're convinced that Audacity can get away with whatever they damn well please, it's going to have it's adrenaline-fueled charm regardless."