On Red Sammy’s new album Neon Motel, songwriter Adam Trice explores a collection of barroom ballads that sound like an invitation to the barren frontier, one frosty brew, or a hot buttered rum on a frostier Baltimore night. Bruce Elliott (electric and electric slide guitar), Greg Humphreys (bass, mandolin, electric guitar), Ryan Bowen (drums), Anjili Babbar (backing vocals), and mastermind Trice (lead vocals, acoustic guitar, electric guitar, tambourine, mandolin) have opened for national acts like Deer Tick, Mike Watt and The Missingmen, Phosphorescent, and Dirty River Boys.
Some facts are certain here. The eleven songs are a deep dive into the land of angst-driven guitar. The video clip of mask-wearing school kids playing at life lets listeners get the vibe of “Ernie the Lizard”. With Trice crafting songs like the perky “You That I Refuse,” listeners may feel that they are in the hands of a master craftsman, because each note punctuates the message lyrically.
Laying in to rest of the album with the easy tempo of the title track, “Neon Motel” is sung with vocal gruffness that makes Red Sammy one of the best folk-rock singers around today. With an identifiable quality like Bob Dylan, Adam Trice has a style that is alive with nuanced emotion. Carving ideas out of each experience, a great songwriter takes each and uses it to his advantage. The slide guitar lover’s dream that is “Bad Ideas” pulls lyrics back in from the title cut. This tune shows a songwriter at home with his bandmates, creating a dank, dark frontier where listeners are invited to come. Exceptional guitar work rounds out the sound into something deeper, a pit of places that always end badly, eyes open at the end of a drunk night.
“You Don’t Gotta Convince Me” is magic, featuring beautiful harmonies in duet with backing vocalist Anjili Babbar; one of the magic moments on this album, this standout is crazy good. Tripping into “Firetrail” with its almost in-your-face blues rock, one thing is certain: evolution has occurred. Seven albums later this man does not sound tired of doing what he loves, despite the name “Tired and Free.” “Tired” eases in patiently, with Trice phrasing each vocal delivery purposefully. This comfortable, purposeful work is a mirror of greats like Dylan, come to life again for another generation in new rock star. “Rock Star” is that self-proclaimed anthem, coming in with a growl, a shout, stellar guitar work, and lyrics laden with sarcasm. The band takes that guitar work into ‘Roofbeam.” This cut also feels like a car sing-along, with Ryan Bowen keeping a noticeably steady beat on drums with Greg Humphreys on bass. Often restraint is a challenge to accomplish successfully, but there’s no problem here for these seasoned musicians. They mesh together seemingly without effort.
Conscious of sequencing on this piece of music, “I Stay in Bed” and “The Current” close out the record. The first has a Harry Nilsson, “pull the covers over the head” vibe. It’s a brilliant acoustic window into a horror show, a bookend to Childish Gambino’s mind-blowing “This Is America.” Red Sammy closes out with “The Current,” subtle and soft. The acoustic guitar is the voice that rings true, along with a wordsmith that has made his thoughts heard with a rock, folk, and Americana beat.
Singing the song of everyman, Red Sammy does something really special on his seventh release Neon Motel. Any listener has met the cast of characters that inhabit the world of Adam Trice and Red Sammy. Whether is is the businessman drinking his lunch, the booze hound lurking in the shadows, or the guy grateful to have made a fast getaway, we have met these folks before. Sometimes it is nice to know we all have the same dark places we can go visit. Sometimes hanging out in the shadows with your friends is the best place to be.–Lisa Whealy
1. “Computer Games” – Greta Jaime. Bass heavy. Metaphorically relevant. Swooning vocals. “Computer Games” by British up-and-comer Greta Jaime is layered with pops and cracks that belie a much lighter track than what the lyrics imply. She’s not afraid to stand alone from the instrumentals as “Computer Games” patiently builds itself up from the thumping back beats to a swirling collection of digitally driven cacophony. She’s an artist who is in total control of every sound and emotion. From the lyrical prowess to the aptly subtle guitar riffs that add to the ambivalent tone, Jaime’s strength lies in her courage and already legendary vocal range. Having caught the attention of the Glastonbury Festival’s Emerging Artist Competition, Jaime is undoubtedly on a fast-track to impressively high levels of success. –Maria Edwards
2. “The Highway State” – The Bowling Alley Sound. This post-rock outfit likes to bend the expectations of the genre–this is a major key piece, but not the surging crescendo of a Lights and Motion piece. This is cinematic, but more Wes Anderson than sweeping landscape. This has a lot of dynamic motion, but this is not a on/off/on roarer. Instead, this is a carefully crafted, beautifully executed, compositionally unique piece that includes a long spoken word section, interesting violin work, and strong trumpet use. There’s also guitars for those whom guitars in post rock is a mandatory–but they’re more like folk than like GYBE. So, overall–this is vastly impressive and interesting.
3. “On and On” – Manatree. This power-pop song rumbles forward with a passionate joie de vivre that is tempered only by the slowly-unfolding vocals (and even that isn’t too much tempering). There’s half a dozen moments in the tune that made my eyebrows raise expectantly, and a couple moments gave me shivers. I’ve got my head bobbing at my desk enthusiastically. These dudes should definitely go on tour with Brother Moses. If you like indie-pop, you need to listen to this one.
4. “Take the Doggie” – Shy Boys. It only takes 96 seconds for me to fall in love with this quirky power-pop/indie-pop tune that’s sung directly to a stray dog. Everything seems to be zooming in all sorts of directions and then it’s over, just in time to press replay. And the video has a bunch of dogs in it. Who can resist?
5. “So We Go” – Cable Street Collective. Excellent female vocals, reggaeton rhythms, hand percussion, and Caribbean vibes power this jubilant indie-pop track. There’s a hint of Vampire Weekend in there, but comparing Cable Street Collective to other bands sells them short. It seems impossible to not have fun while listening to this tune.
6. “Burning Bridges” – The Wandering Hearts. A lovely, lilting folk tune with thick harmonies, subtle percussion, perky bass, and comforting melodies. The smash-cut to the bass-heavy piano and female vocal solo in the bridge is particularly striking.
7. “California” – Mountain Lions. Can you write a song called “California” and not have someone mention Phantom Planet? Anyway, this acoustic indie-pop song is more chipper than the iconic indie serenade of the state, but it’s just as indie-charming. The acoustic arrangement is effervescent without being saccharine, and the melodies are as singable as you’d hope for such a big topic. There’s a touch of M. Ward here and there, some power-pop knowledge sprinkled on it, and the whole thing is wrapped up in a lovely production job. Just a winner, through and through.
8. “For U” – Uma E. Fernqvist. This is how you take trip-hop and move it forward without recreating Portishead. There’s a lot of the things you’d expect from trip-hop: dusky moods, icy tones, stark arrangements, staccato drums, and the like. But there’s also a continuity, an underpinning of a consistent beat drawn more from techno than from trip-hop, that gives this tune some contrast to the trip-hop base. It’s a fascinating, compelling mash-up. It’s also over eight minutes long, another nod to its electronic roots.
9. “Fire B” – Elephant Micah. Elephant Micah has a discography full of slowcore folk musings, and I like those recordings a lot. But, as I have coincidentally done, Elephant Micah suddenly got interested in electronic music. But, because Joe O’Connell loves minimalism, this is real minimal electronic music–sounds from a single synth wash over your ears, sometimes accompanied by another synth, but often not. After about 2.5 minutes of experiments like that, O’Connell bursts into a … cover of his own work? A riff on his own work? It’s not quite “If I Were a Surfer,” but it uses the same melodic and lyrical concepts. There are lots of clanks and bonks and bass whomps to go along with it. It’s a wild thing, regardless of whether you’ve heard Elephant Micah before.
10. “Run Away” – I Am Soyuz. An intimate acoustic tune that evokes the feel of everyone together in a small room making music together. The lead female vocalist has an intriguing, engaging voice and strong melodies to boot. The arrangement is subtle but well-turned–there’s interest for those looking for it. The whole thing comes off like a deconstructed folk-pop tune, sort of somewhere between Dana Sipos’ dreaminess and stomp’n’holler folk.
Michael Flynn (the Slow Runner one, not the other one) is allowing us to premiere a new video for “Get Old.” I say allowing because I love this video and feel genuinely honored to be the person who gets to premiere it. The song checks a ton of boxes for me: 1. It’s a piano-heavy ballad (check) 2. It’s got great melodies (check) 3. The lyrics are excellent, from a point of view not often heard (check) 4. It’s about parenthood but not in a pacifiers-and-LEGOs way (check) 5. Flynn’s vocal performance is excellent (check).
And then the video. Oh, the video.
When I showed up at work the first day I saw this, I did not expect to spend seven minutes crying at my desk, but that’s what happened. This video demonstrates everything good and right and lovely about family and parenting. It’s beautiful and heartbreaking all at once–on the one hand, this is a big visual list of happy moments of a family and that is to be celebrated. On the other, there are always hard things that don’t get in the videos (I know that as a parent myself). Even deeper than that, there are things in all our pasts and families that hurt us deeply–seeing a montage like this makes me well up with sadness in remembering those things. But then I also well up with happiness, thinking of the good times.
And then the end of the video transitions to Flynn’s daughter, and I lost it. I’d just gone through a catalog of the good and the bad in my own personal history and then, then I had to think, “Oh no, I have a child that looks that tiny and small and I have part of the responsibility of doing the best I can to make sure that someday there are more good things than bad things when my child thinks back on his family.” And right as I was suffering this deep parental existential fear, the lyrics returned and reminded me that Flynn is celebrating this. This is good. This can be good. This will be good.
So if you want all that to happen to you, you can check this out. In other words, the video is really good. Really, really good.
Howlin Rain has literally been around since their 2006 debut. The Oakland, California-based band has toured the world with their west coast rock flavor. More impressive is that the band is set to drop its fifth full length album, The Alligator Bride, via Silver Current Records this June. What a long, strange trip it’s been!
It can be tough to have comparisons tossed about to iconic bands like The Grateful Dead, getting hippie culture vibrating with expectations. Especially after the band had worked with famous producers that carried with it major labels.
Ethan Miller claims the role of lead howler and guitarist. Taking on the world in true DIY spirit, Miller makes Silver Current Records an artist-owned and artist-run endeavor. With their future in their own hands, this bunch of mischief makers is focused on some serious music making business, as The Alligator Bride can attest.
Joining Ethan Miller on guitar is Daniel Cervantes. Two guitars make for a wicked rich mix of sound. Jeff McElroy on bass and Justin Smith on drums create a foundation for this rock trip to happen. The seven songs of this album feature an authentic connection to a swampy groove–Mountain comes to mind, best known for their performance from 1969’s Woodstock.
From the opening of “Rainbow Trout,” one thing is apparent: listeners are on a road trip to parts unknown, and happily so. This track is magic: striking vocals and great guitar work with riff layered on riff. It’s a celebration of life in song, this kind of rock has been left to the Phish fans and Dead heads since 1969. Howlin Rain picks up that vibe, and this track is like the best of what started in 1967 at Monterey Pop.
“Missouri” follows with an easy feel, a down-home, road-trippin, blasting-out-of-the-radio-of-a-Volkswagen-bus song. Listeners can almost feel the wind in their faces. It’s a summer day in a song; there is no doubt why this was the first video to drop from the record. Musically, this is a masterclass in joyful noise: exceptional guitar work embraces Miller’s vocals with riffs all over.
The band follows that up with a contrast. “Speed” is a soft-spoken acoustic guitar with an easy, soothing voice. But “Speed” is also a story of contrasts: being high can take effort, as anyone that has ever had too much of anything will relate. This is songwriting brilliance. Following up with a track like “The Wild Boys” is a bit of sequencing genius. A song reminiscent of Grateful Dead, this is softly executed. Of all the songs so far this has the most Dead vibes; enough essence of what is past, but enough of what is Howlin Rain this is elevated beyond what may have helped create the music. Long jams and stellar drum work make this a stand out. However, it is apparent why “ Alligator Bride” is the title track. Lush harmonies tell the tale of simpler times that have moved on, good old days gone, never to return. Catch hold of your breath–this is a stunner that wraps in a squeal of guitars.
Miller greets listeners with crystal clear vocals on “In The Evening,” authentic and full of emotion. It is easy to be transported on this journey, simple and uncluttered musically. Three guitars and yet there is restraint–damn. Impressive. Easing out of the record with the final track, “Coming Down” is perfect. Anthemic yet subtle, with a festival-at-sunset feel, the road tripping is over with Howlin Rain and The Alligator Bride. Its beautiful crescendo of soaring guitars spiraling out with the vocal strength of Ethan Miller, say goodbye. Those guitar riffs that will keep fans smiling long after the music fades. Keep up with their tour dates at their website. –Lisa Whealy
1. “Muanapoto” – Tshegue. Dense, groove-heavy African rhythms power this unclassifiable tune, which falls somewhere between LCD Soundsystem electro, Afropunk, and The Very Best. May I repeat: those grooves. You’ll get moving on this one.
2. “Like the Night” – Moonbeau. This electro-pop jam played for roughly three seconds before I thought, “Oh yes. Ohhhhhhh yeahhhhhhhhhhhh.” The airy arpeggiator lead hook is awesome, the verses are perfectly done to build tension, and the chorus brings that hook back in excellently. The vocals nail it, too. If you love JR JR, Hot Chip, and the like, you’ll be absolutely all over this track.
3. “Happy Unhappy” – The Beths. The Beths are jumping in with Alex Lahey and Marsicans as purveyors of incredible, indelible guitar-pop in big batches. This second single I’ve heard from then is just everything I’m looking for in power-pop: thick guitars that yet don’t cover up the vocals, blast-off drums, big low end, and giddy enthusiasm. The fact that the giddy enthusiasm (check the “oh-ah” section) is deployed in a lyrical set complaining about being happy (ha!) is just rollicking fun.
4. “Forever” – The Gray Havens. TGH has moved from piano pop through expansive folk-pop to full-on indie-pop in this latest track. This jubilant track grows from a peaceful opening to include enthusiastic horns, a soaring vocal line, and punchy percussion. Fans of Graceland will hear some resonances there. It’s a blast.
5. “When I Look Back” – Lev Snowe. This track has some psych guitar touches toward the end, but for the majority of the piece it’s a hazy, dreamy, friendly indie-pop effort. Snowe’s fusion of fuzzed out bass (or guitar masquerading as bass), glittery synths, and even-keeled vocals creates a fun but not unserious atmosphere.
6. “I’m the Wolves” – St. Jude the Obscure. Turns a Band of Horses-esque dusky rumination into a full-on dance party–it’s sort of like when The Arcade Fire busts out “Sprawl II” in the middle of The Suburbs. It’s thoughtful, but also got a lot of kinetic energy going on.
7. “Setting In” – Ditches. Starts off with layers of squalling feedback, but quickly abandons this intro for a loping, scuffling, laidback indie-pop song. Fans of formal songwriting, Cut Worms, Grandaddy, The Shins, and more will love this delicate, melancholy, lovely tune.
8. “Ask Me Now” – Wes Allen. I love melodic percussion–xylophones, marimbas, and vibraphones create such a warm, enveloping mood for songs. Allen includes some melodic percussion in his reflective, somber pop song that calls up elements of Jackson Browne, Paul Simon, and other peaceful singer-songwriters of the era. It’s a rumination on a breakup, like so many others, but Allen’s well-turned vocal performance sells it.
9. “Our Conversation on July 7th” – God Bless Relative. World-weary folk-pop that yet retains a sweetness in the arrangement. The electronic drums give this a unique vibe before opening up into a full-band jam (including some of the best handclaps ever used in the service of sadness). One of those tunes that feels like it’s always been around and you’re just hearing it again–it’s that mature and well-developed.
10. “Tiananmen Square” – Cameron Blake. The ever-excellent Cameron Blake’s video for his moving tune “Tiananmen Square” is powerful. The clip shows a lot of historical footage of China ostensibly surrounding the 1989 student protests held in the titular location. The most intriguing part of the video is that, while I’ve seen the iconic tank man picture, I’d never seen video of the ensuing moments: tank man keeps moving in front of the tank, then climbs up on the tank (!!) and attempts to talk to people inside the the tank (!!!) before getting down off the tank and resuming his protest. It adds even more gravitas to an already incredible moment. Blake’s huge crescendoes only help with this feeling.
I have been piled under by work recently, so I’m making a good faith effort over the next few days to get out from under a ton of great singles. I’ll be posting singles in roughly the order they were sent to me, which means that these posts will be more eccentric than I like them to be–this one goes from instrumental post-metal to acoustic singer/songwriter back-to-back. Whoops. Enjoy the tunes, regardless.
1. “Ruthless” – Terra Lightfoot. Sounds like a mashup of the vocals of the Alabama Shakes and the Southern-infused alt-country of Jason Isbell. That is high praise, y’all.
2. “Get On Board” – Pirra. This is a pop song that just would not leave my head. The tune sneaks up on you, with a subtle arrangement leading into a big, lovely chorus. There are shades of San Fran indie-pop, ’50s pop, and contemporary folk-pop throughout.
3. “The American Dream” – Crooked Teeth. The reconsideration of the American dream continues, this time in an invigorating, punchy post-LCD Soundsystem soundscape. The tension between the distorted guitar and the frantic arpeggiator is the greatest part of this song–there’s tons of space to mine there, more than LCD can take. The melodic vocal line sets Crooked Teeth apart from their forebears as well.
4. “There Is a Ledger” – Wild Pink. John Ross traded in his solo synth-pop project Challenger for art-punks Wild Pink, but this track circles back to his synth-pop beginnings. “There Is a Ledger” is a stroll through the park, with chirpy, charming bits dancing over a low-slung chassis of a song. Ross’s boyish, floaty vocals finish creating the happy mood.
5. “Cómo Me Quieres” – Khruangbin. Khruangbin is creating some of the most interesting non-neo-classical instrumental music in the world right now. And I say world because that is the scope of their music–they throw in Middle Eastern vibes, some funky aspects, vaguely surf-y moments, and a solid grounding in indie rock to create their unique, fascinating stew. Wild stuff.
6. “G.O.A.T.” – Polyphia. What if you could perform dubstep live with real instruments? What if you could mash it up with a math-rock-influenced metal band? What if you could throw some prog drumming in there for kicks? Well, if you’re somehow that inventive, you’d be Polyphia. Just wow.
7. “Crooked Lines” – Lost Like Alice. A soft, unassuming tune that sidles on in, catches your attention, and never lets it go. Ben Parker’s voice is confident but vulnerable; his low range plays like a higher Alexi Murdoch, while his higher register is more along the lines of Passenger’s dramatic performances. The guitar slots in to the mix beautifully. Solid all around.
8. “Life Comes at You Fast” – Jacob Furr. Furr’s been honing his country/folk for a long time now, and he’s earned a hard-won gravitas to his songwriting. He controls space in his vocal lines and guitar lines expertly, allowing the song to have breathing room. His vocal performance is smooth and strong.
9. “Bored in College” – James Quick. I’m not really into white-dude soul, but this tune got me. The vocal performance is carefully done, the low-key groove is impressive, the arrangement is tidy, and the overall vibe is strong. The crowdsourced video only makes it more fun.
10. “Us” – Jamison Isaak. Isaak’s EP2 has songs more atmospheric and more enthusiastic than his first outing. This is one of the latter, as a humble piano chord progression becomes the base for burbling synths, rattling lead treble lines, and other ostinato key patterns. It’s an upbeat, sun-dappled piece that takes minimalism as a starting point to build something beautiful.
Tiphanie Doucet‘s “Under My Sun” is a warm, peaceful track that draws its easygoing vibes from a simple, sturdy arrangement. This track falls somewhere between indie-pop and folk: it has the acoustic instruments and acoustic-guitar focus of a folk tune, but the swaying vibe and vocal melodies point toward indie-pop.
Either way you want to slice it, it’s the careful, uncomplicated arrangement that sells this track: a simple guitar pattern is supported by deep stringed bass, restrained drumming, and sun-dappled piano keys. The pieces come together into a track that is both confident and relaxed–there’s nothing slackery about this track, but you can definitely bob your head to it. It’s much more of a pastoral track than an urban one; this is made for big fields instead of skyscrapers.
Doucet’s hushed invitation to come and be comforted only adds to the feeling of comfort and peace. Her vocal performance is compelling in its attention to detail–the ends of lines and the wordless sighs that close the song contain a lot of emotion without going for the big move. If you’re looking for a relaxing summer tune, this is what you’re looking for. Highly recommended.
“Under My Sun” is the title track of Doucet’s upcoming album, which was produced by Simone Felice and David Baron. Under My Sun will be released August 3. You can follow her on Facebook, Twitter, and Instagram. If you’re on the New York/New Jersey area, you can catch Doucet live before the record drops:
June 21st Fox and Crow, Jersey City , NJ 8pm
July 2nd Rockwood Music Hall Stage 3, NY 8pm (Tickets)
Salim Nourallah‘s “Relief” is a tense song about seeking peace. Nourallah is looking for relational harmony, striving for goodwill between people in relationship and throughout society.
The problem is that he’s not finding any of that peace he’s looking for; he’s offered no relief. The resolution comes when he chooses to give relief to people instead of only seeking it. Lyrically, this is a strong offering–Nourallah’s words keep the song moving, even amid the slow tempo and atmospheric arrangement.
The arrangement is a deft, careful one. The song was written on piano, but the final version of this track doesn’t bring in the piano until midway through the song. The first, piano-less half of the song relies on ’90s lead guitar sounds, stark percussion, grumbling bass, and distant atmospheric melodies to create the atmosphere he’s looking for: it’s an arrangement that could be peaceful, but has tough edges instead. The entrance of the piano mellows out the tune for a while, but the gritty bits remain throughout. If peace is elusive and difficult lyrically, so it is musically.
Fans of ’90s Brit-pop, ’00s Grandaddy-style alt-pop, and ’10s singer/songwriters (Peter Bradley Adams comes to mind) will enjoy this tune quite a bit. “Relief” appears on both the EP North (out June 1) and the full album Somewhere South of Sane (out sometime in Fall). Both releases are on Palo Santo Records. You can catch Nourallah on Twitter and Facebook.
1. “New Moon” – Daniel Bachman. There’s not a much more relaxing instrument than the Bontempi Organ Bachman plays here. Similarly, there’s almost nothing more relaxing that listening to someone play acoustic guitar in the woods while relaxing. This track gives you 13 minutes of both of those things. It does build to a less-than-chill climax, but this is ultimately a long, expansive, exploratory guitar ramble by someone who’s really good at it. (It doesn’t sound like a bad jam band, is what I mean.)
2. “Quebec (Climber)” – Bing & Ruth. A swirling, whirling, propulsive piece that straddles the line between ambient and neo-classical. There are elements of the great, cloudy mountains of sound that John Luther Adams created on Become Ocean, grounded by piano and what sounds like clarinet. Very unique and interesting.
3. “Render Arcane” – Cruel Diagonals. Elements of drone, ambient, and soundtrack music are to be found in this unique instrumental track. There’s some sonic elements that set the scene of a forest, as well as the pitter-patter of melodic percussion (marimba) and ghostly manipulated vocals to further the feel of deep woods. Some industrial-style clanks and bonks are introduced, making me think that perhaps a machine is chasing our protagonist. Under all that, there’s a subtle but real groove that marks this as fascinating work.
4. “Loop 019” – J Foley. This track is from Drone Loops EP 1, which is a pretty descriptive title. This track is a bunch of distorted guitar, looped, chopped, layered, transformed, and droned. The tape hiss and tape chops create a bit of percussion, but mostly the internal inertia of the guitar recording keeps this thing humming along. It’s a bit doomy, but it’s actually way more zen than I expected. It’s sort of like a more minor-key School of Seven Bells with no vocals, maybe. Either way, it’s good. If you like heavy, dark post-rock, conceptual work, or weird drone/ambient stuff, you’ll be into this.
5. “Chasing the Path” – Grej. Music for modern dance is almost always interesting, as the structure and style of the piece are driven by and intertwined with the contours of the dance. Grej’s Chasing the Path is a long work created for dance; this 13-minute opening track is a piece primarily for piano and cello with some of the melodic percussion that is Grej’s specialty woven in. The lines and long and legato, flowing peacefully until about eight and a half minutes, when the pace picks up and the mood switches to a more ominous, foreboding one. Fans of composed music will find this to be a compelling work.
1. “You, Forever” – Sam Evian. If you somehow crossed Spoon’s minimalist arrangements and the quiet version of Conor Oberst’s vulnerable vocals in front of a Motown producer, this genreless song might appear. It’s a slow burner, working its way into your ears steadily over the unhurried three and a half minutes.
2. “I Don’t Mind” – Aaron Ward. There aren’t enough songs in the world about friendship. Many of those that exist would bring a party connotation to the line “Meet me for a pint / we’ll throw it down.” But this intimate folk/singer-songwriter track (that features a big crescendo to the finale) is about getting vulnerable in friendship, sharing tough emotions and being there for each other. Those are the sort of friendships I want. Here’s to friendship, and to this powerful, vulnerable track.
3. “Roll Around” – Kate Vargas. This sounds like a lost Tom Waits tune in its clanking, vaguely cabaret arrangement. Vargas helps the comparisons with her scratchy, intense voice and the lyrics of tough living (“You can’t get lower than the ground / but you can roll around for a long time”). Very unique.
4. “Soggy Humans” – God Bless Relative. The yearning, searching vocal performance steals the show in this one, even though there’s some tasty organ, strong drumming, and solid bass work in this West Coast Country/folk-rock tune. The tune has the easygoing spirit of the Laurel Canyon folks, but a bit more melancholy than you’d expect. Kinda like what Dawes has been doing lately, but more compelling.
5. “sure, bert” – Tyler Berd. Troubadour folk meets introspective bedroom pop in a collision of styles and expectations. The song sure seems oblivious of that though, as it confidently and earnestly wobbles its way through the slight 1:47 runtime. RIYL: early Bright Eyes, Angelo de Augustine.
6. “Love Me Now” – Ziggy Alberts. Cross the simplicity of Jack Johnson and raw emotion of Ray LaMontagne and you’ve got this Ziggy Alberts tune. This is strong acoustic pop songwriting, right here.
7. “Waiting / On My Own” – Duke Bluebeard. These two tracks are meant to be listened to back-to-back. The first has a folky-to-Brit-pop transition in the middle, while the second is a little bit more introspective and dark in mood. Both feature high-pitched male vocals that convey a lot of emotion and thoughtful arrangements.
8. “Standing Still” – Rebekah Rolland. Fans of Gillian Welch and Sarah Jarosz will love this relaxed folk tune that focuses on Rolland’s lilting, engaging voice. The trumpets and piano interaction will make fans of Sufjan’s Michigan sit up and take notice. In short, if you’re anywhere on the folk music spectrum, you should be checking this out.
9. “Easier (feat. Molly Parden)” – Sons of Bill. I know I throw the word “lush” around a bit too much when I hear songs like this, because I want to say things like, “OK, so, some songs are lush, but not this lush. THIS is lush.” There’s not a gap or space anywhere in this folk tune–it’s all full of cascading guitars, big-yet-friendly percussion, cooing vocals, and even more guitars. The effect is glorious.
10. “Married Young” – Elise Davis. A beautiful, tender depiction of young love, flush with dramatic strings, big wordless vocals, and enough pathos to get me a little misty-eyed. Anyone who’s ever been young and poor and in love will recognize this immediately, whether or not you got married.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.