I love reading and writing poetry. (I am likely one of the few people in the world who was so moved as to do a happy dance when Natasha Trethewey was named United States Poet Laureate.) So I was thrilled to hear that folk/country outfit Red Sammy had teamed up with poet Steve Matanle for these poems with kerosene. The gritty, gravelly-voiced country fits perfectly with Matanle’s detailed scenes, making for a fascinating album. The two only team up for “Nightriff,” instead preferring to trade spread the four spoken-word tracks among the eight songs. This creates an intriguing flow for the album, making both the songs and the poems memorable.
The tunes are low-slung, largely eschewing treble, cymbals, and screaming guitar solos. This melodic breathing room allows for more nuance in the tunes, giving “Rank & File” a solemn beauty. “Monstertruck” throws in an acoustic slide-guitar solo from the low end of the frets, something I love to hear in this pop-friendly era. The low-end riffing continues on the collaborative track “Nightriff,” foregrounding Matanle’s dry but still evocative voice over the guitar. The descriptive, abstract poem itself is eclipsed in quality by the much more concrete “Hobbies of the Damned,” “Man with a Suitcase,” and “Bar,” all of which tether their small revelations to finely explained events. Matanle gets a lot done in a few words, as none of his spoken word pieces go over 1:30; this is the perfect length to serve as powerful interludes between the longer Red Sammy songs (roughly 4 minutes each).
these poems with kerosene isn’t near as volatile as its title would suggest: it’s more of a slow-burner, working its way into your consciousness bit by bit. Both Steve Matanle and Red Sammy have contributed pieces that give you space to think: they don’t hit you over the head anything. That’s a welcome blessing. kerosene is a must-hear for alt-country fans.
(p.s.: I would love to hear more pairings like this, songwriters. And I’d love to be a part of one, too.)
Fiery Crash is a prolific songwriting project by Josh Jackson (not the Paste editor-in-chief) that specializes in hazy, acoustic-led dream-pop. There are occasional moments of noisy clutter, but Carbondale is largely a chill affair that finds its stride on ambling, easy-going tunes which allow Jackson’s mid-range voice to meander in an M. Ward-esque way (“Forward,” “Caroline”).
The best tracks show off Jackson’s ability to create and sustain moods through subtle, appealing instrumental arrangements: “Drought Finale” pairs a quirky lead guitar line with an ethereal arrangement while Jackson casually tosses off a speak/sung vocal melody. These moves result in an engaging idiom that could be mined for a long time.
There are still some youthful missteps, as in the vocally overbearing “Headrone” and the grating “Half Life,” but they are balanced out by sublime instrumental moments like “Fever Song No. 2” and “The First Moment.” If you’re interested in hazy/dreamy pop, Fiery Crash is a name to watch for in the coming years.
So our Kickstarter is going splendidly, as we’re 84% funded after less than 48 hours of being open. The rapid success thrills and humbles me, as this little project (and by extension, I) have been the recipient of much generosity over the last two days.
But even with golden days about us, there’s still work to be done! Here’s a large mix of solid singles that have floated my way recently.
Independent Clauses’ 10th birthday is coming up, and we promised loyal IC readers a present/surprise at the beginning of the year. Today is the day that we unveil that present. We are putting out a 20-band compilation album of covers from Give Up by The Postal Service called Never Give Up: Celebrating 10 Years of The Postal Service. It will be out May 15 on Bandcamp.
We’re running a Kickstarter campaign to finish up the funding of the mechanical licenses. We’re only looking for $695, because this project isn’t looking to change the world: we just want everyone to get paid legally. So, if you want to support Independent Clauses, get some sweet free tunes, support one of the bands below, or generally be awesome to each other, you should hit up the Kickstarter Page and check out the prizes. I’ll handmake you a mix CD! With art!
I used to drive 45 minutes each way to work. Now I have the distinct privilege of walking to my office each morning. I don’t take this for granted … except on days like today when it is pouring down rain. (It’s been a really rainy winter in Auburn.) In addition to being wet upon arrival, my motivation takes a serious hit when my window (another wonderful privilege!) shows nothing but slate gray. So I’m looking for something to pep me up. The Stereo State‘s Crossing Canyons is just the ticket.
Although it refers to large bodies of water a distressing amount (“Across the Susquehanna,” “The Flood”), the rock/punk of Crossing Canyons has been motivating me to get things done. This is no-frills rock: heavy rhythm guitars, melodic lead guitar work, four-on-the-floor rhythm section, and gruff male vocals give this a familiarity that allowed the EP to quickly endear itself to me. Sometimes you don’t need to rewrite the playbook, if running the plays to execution gets the job done. And the quintet does indeed pull this all off well.
Opener “Across the Susquehanna” sets the tone for the album by introducing the vocals and guitar alone, covering themes of travel, belief in music, and coming home. Is there anything more timeless? These topics and sounds could end up seeming rote, but the band makes them sound fresh with some great guitar work and a propulsive energy throughout the song and album. “American Bones” takes more standard punk and rock parts and applies them in a way that works; I could explain it, but you’ll instantly know what I mean when you hear it. It’s like when you go buy a new shirt that’s kind of like your old one, but just enough different that you love it in its own right. The perfect production job has a lot to do with this, as well as the excellent vocals. Sometimes frontmen can bring somewhat ambiguous contributions to a band, but Stereo Sound vocalist Andy Frongillo ties the whole sound together and makes the EP into a must-hear.
If you’re into rock’n’roll, pop-punk, or need a rainy-day pick-me-up, I can thoroughly recommend Crossing Canyons by The Stereo State.
The Parmesans were one of my favorite discoveries in 2012, which makes me thrilled to hear a new batch of their quirky, Californian bluegrass tunes so quickly. The Smell of Silence is a worthy successor, delivering both a light atmosphere and serious musicianship. If the five-song EP’s title didn’t tip you off, the moniker of “Heinous Pit of Death” and the wolf howls in “Delirious Dream” should alert you: this isn’t self-serious revivalism. They are serious musicians, however, showing off their vocal and instrumental chops in melodic and interesting ways (“Spicy Cigarette,” “See For Yourself”). Their vocal harmonies are especially top-notch in the beautiful “Walls for the Wind,” a setting of a traditional Irish blessing. The Parmesans’ uncluttered, earnest approach fits the sentiments perfectly, resulting in a perfect closer for the EP. The Smell of Silence is a joy to hear.
Radio-friendly pop-punk has so dominated the high-tenor vocal range that it’s a tough fight to make that style vocals sound good in any other genre. But The Sun and the Sea make it work excellently in the indie-pop-rock of Vega. TSAS’s sound is much closer to the spacious, moody pop of Mae’s Destination: Beautiful, a personal favorite. There are crunchy electric guitars, tasteful electronic inclusions and soaring vocal melodies, but a more ambiguous, mature mood is the focus here. “Waves” and “One by One” employ towering crescendoes, while “Valiant” and “We Deal in Illusions” strike a more contemplative tone to get their message across. Some may hear this merely as pop-punk, but I think it’s got too much nuance to be lumped pejoratively in that category. If you’re interested in the work of indie-pop-rock like John K. Samson, I think you’ll like Vega very much.
I heard that The Mars Volta broke up the other day, and I had a moment of silence for the loss of a spazzy, idiosyncratic band willing to follow its own vision. Cyan Marble has a better plan to celebrate TMV’s disappearance than silence: a three-song EP that follows in Omar Rodríguez-López and Cedric Bixler-Zavala’s very large footsteps. Mirror EP has everything you could want: crazy breakdowns, astonishing bass work, drastic mood changes, wild juxtapositions, even sky-high male vocals. Cyan Marble has its chops on display, but it also shows that it can write a compelling tune: “Monoceros” strikes a solid rhythmic and melodic groove and is easily identifiable as its own tune. The parenthetical after Mirror EP is (Demo), so this is only the beginning for this math/post/whatever-rock band, and I’d say they’re very worth keeping tabs on.
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.