1. “Lighthouse” – The Burgeoning. One of the most intriguing singles I’ve heard all year, this track combines the ambient uppers of chillwave with the melodic structures of Vampire Weekend and the frantic fury (and guitar noise) of a punk band. It’s a fresh, amazing combination. I’m looking forward to hear more from The Burgeoning.
2. “The Next Morning” – The Drafts. The energy and enthusiastic guitars of The Vaccines meet a reserved, pensive vocalist for a charming, infectious tune that you’ll want to hear multiple times.
3. “Where I Go” – Pistol Shrimp. If Passion Pit, MGMT, and Anamanaguchi had a basement dance party, this bangin’ tune would be the result. Pop gold, right here.
4. “Heartracer” – Cosby. Synth-laden, big-pop ’80s revivalism is going great this year. This fits right up there with Challenger for the best of the bunch.
5. “Recurring Dreams” – Shivery Shakes. The carefree nature of whistling in a ’60s surf-pop influenced tune gets me every time. You like The Drums? You’ll love this.
6. “Promises” – Barreracudas. If you make a metaphor that includes arcade games (specifically Donkey Kong), I will be immediately more endeared to you. Fun, poppy garage-rock here.
7. “Speed Date Yr Way to Fame” – Sweet Deals on Surgery. Starts off a thrashy, screamed, frantic punk song before taking a momentary break in pop. Then in blasts off again.
8. “Name on a Matchbook” – Springtime Carnivore. ’60s girl pop gets a slight sonic update, but the soul of this tune really begs for an -ettes suffix.
9. “Head Down” – The Ocean Party. Jangly ’80s indie-rock meets airy ’80s synth-pop. The peppy, fun results are less ’80s and more ’00s than you’d think.
I’ve been repping The Parmesans as hard as I can for as long as I’ve known about their music, as their bluegrassy/folk-poppy/traditional string band maelstrom is endlessly fun. Their new album Flat Baroque continues their streak (now three albums and two EPs long) of fun, clever, interesting, smile-inducing releases.
They lean heavily on guitar, mandolin, stand-up bass and three-voice harmonies, and it works perfectly. The Parmesans have a habit of recording their favorite songs multiple times (“Delirious Dream,” “JuJaJe” and “See For Yourself” reprise this time), and that gives their albums a feel of a backporch concert that just keeps rolling on. They didn’t record “Walls for the Wind” this time, but hey, they might go for a fourth round on the next album. It’s that sort of off-the-cuff attitude to track listing that’s infused in the tracks themselves. The Parms are clearly having fun, and that is hard to miss as a listener.
They’re developing a signature melodic and rhythmic style in the guitar, which is really cool. It’s fun to hear sounds develop over a long period of time. They’ve also figured out what type of song they’re really good at; consequently, there are no bad tracks on Flat Baroque. “Call Me When You’re There” and “Bad Idea” stand out among the new tracks, but all of them are worth repeating multiple times. They tracked this one live, as they have all their other albums; the difference is that they did so at Tiny Telephone in San Francisco. They’re moving up in the world! If you’re into fun, unique takes on traditional string music, then Flat Baroque is most definitely for you.
They’re on tour right now; they’re passing through Raleigh (Fuquay-Varina!) on Sunday. I’ll be there, hoping for “Walls for the Wind” and “Bad Idea.”
Lindsey Saunders‘ four-song EPMiles Before Sleep is a solo acoustic guitar effort that showcases her impressive technical and melodic skill. Saunders’ modus operandi in these tunes is to set up a melodic environment not unlike that of a solo piano piece: an introductory section to establish mood, then development of themes, then variations on those themes–all while managing the crescendo/descrescendo flow of the piece. (It was originally meant to accompany a dance piece by Texture Ballet.)
This wouldn’t work if Saunders weren’t so impressive at fretwork: the flowing opener “Task” leads the listener on a relaxing journey full of melody ideas, while “Decision” amps up the speed of the work and pulls off some complex, syncopated lead lines. “Questioning” opens with the feel of the former but graduates to the latter, featuring some of her most aggressive, acrobatic-sounding fretwork. “Acceptance” returns to the lullaby-esque feel of “Task,” closing the EP on a pensive, beautiful note. I’m only rarely sent acoustic solo guitar work, but so far I’ve enjoyed what I’ve heard. Perhaps only those with intense chops even consider pulling it off. Lindsey Saunders has both the technical skill and the melodic songwriting chops to write impressive and engaging solo guitar tunes, which is rare. The EP drops November 4.
7. “Worth Your While” – Wonderful Humans. Somewhere, Vangelis is rejoicing that his style is alive and well. Vintage ’80s synth-pop matched up with modern indie vocal lines and melodies. Awesome.
8. “Jack and the Giant” – A Love Like Pi. You know that lovely feeling when you’re about to drift off to sleep in the arms of someone you love, and all seems right in the world even if just for a moment? This is what that sounds like.
8. “Safety” – Jasia. Starts out as not much: spare clicks and pops meeting some keening falsetto. But Jasia molds, shapes, and crafts the parts into a booming, M83-like track by the end. Whoa.
9. “Wyn” – Ashan. Do you need eight minutes of ethereal ahs over clicky chillwave-inspired electro? Of course you do. I can see myself both chilling out to this and getting my dance on in a real hip club.
Tulsa’s finest totally unclassifiable wunderkinds Jacob Fred Jazz Odyssey are back for their 26th album, Worker. Taking a break from longform work after several years of work on The Race Riot Suite, JFJO are delving into their indie-rock and hip-hop influences. The ever-evolving, piano-led trio spends the bulk of Worker writing short songs full of grinding noises, synth blasts, abrupt shifts, and funky breakdowns.
“Appropriation Song” seems to be self-aware in its pilfering of noises, melodies and rhythms from other genres. “Better Living Through Competitive Spirituality” uses old-school analog synths to create one of the coolest tracks I’ve heard in a long time. It’s got jazzy influences, but it’s essentially a post-rock song. Furthermore, it could be the backing track to some really impressive alt hip-hop; it would be incredible if they got some rappers to create some remixes on this track in particular. “Bounce” could also work brilliantly for a hip-hop remix, as it already has the rhythmic tensions present in great hip-hop.
JFJO is a fascinating band: 20 years into their run, they’re putting out work that’s just as challenging (if not more) than their early or mid-period work. They may not have much of the “jazz” from their name left in their sound, but they do have one trait of great jazz musicians: they’re getting better with age. Worker is a challenging, engaging, rewarding listen that will please fans of experimental, adventurous post-rock. The album drops tomorrow, October 14.
The Widest Smiling Faces‘ Sin Waves is also difficult to describe, but in a completely different way from JFJO. Sin Waves is a 33-track album of dreamy, woozy, reverb-heavy, gentle tracks. Only 6 of them break one minute, though; TWSF prefers to cast off tiny, impressionistic swatches of sound that lean heavily on meandering solo fingerpicked electric guitar. Especially in the back half of the album, listening to Sin Waves is more like wandering through a lovely art gallery that plays sounds than listening to songs.
There are six longer pieces that approximate the standard definition of song. In contrast to the largely instrumental sound swatches, the longer pieces feature Aviv Cohn’s mumbling, whispering, feathery voice. “Rip Me in Half” pairs guitar and voice with some distant, muffled drums to pleasing effect; “Oil Pastel” has a disarmingly straightforward guitar lead before it gets layered upon with more guitars and voice. Cohn is fully capable of writing longform; he just prefers to do elsewise.
Sin Waves is an album in the truest sense of the word: it’s a collection of things that are meant to be heard together. I don’t see a lot of point in listening to this work outside its whole: the entirety of the work is needed for the experience to be fully appreciated. If you’ve got a half-hour that you want to spend in dreamy, ethereal mode, this album should be in your life.
Music for Abandoned Podcast by Kasey Keller Big Band shares the genre-demolishing tendencies of JFJO and the short runtimes of TWSF, making for a surrealistic, madcap 10 tracks in 10 minutes. Keller likes to group strummed instruments (ukulele, nylon-string guitar) with gritty synths, beats, and droll spoken/sung vocals, as in the eerie “Wardenclyffe” and bizarre synth-pop of “Usain Bolt.” Opening track “RIC” is almost two minutes of melodic synth-pop jams, showing a rare, impressive conventional turn from KKBB.
Sometimes elements of his sound are dropped out: “Mosaic History” is a straight synth-pop jam without strings, “Glottal Stop” removes the vocals for 30 seconds of the most intriguing instrumental hip-hop I’ve heard in a while, and “New Knees” is a lo-fi acoustic-and-voice moment. But overall, this is an experimental release that plumbs the depths of acoustic/electronic interaction by juxtaposing them in gritty, raw, unusual ways. If you’re into experimental music, jump on this.
1. “The Balance” – Royal Tongues. Sometimes the RIYL is absolutely perfect. I got told this one was like Smallpools and Passion Pit. BY JOVE IT IS! EVERYBODY DANCE!
2. “Desole Pt. II” – The Gromble. This is like if the enthusiasm of Passion Pit met the restraint of The Naked and the Famous. You can dance to it and think heavy musical thoughts about post-punk to it!
3. “I Feel Sorry For You” – Bullybones. Always space in my heart for voice-shredding, garage-crushin’, surf-rockin’ tunes.
5. “I Told You So” – The March Divide. Early ’00s emo/punk is back, and that’s a really great thing. Let it emote, men. Let it jangle and emote.
6. “Black White Fuzz” – Coastgaard. Yacht rock + The Strokes? Why not? *head bobs frantically*
7. “Little Surfer Girl” – The Yetis. Do you love the Beach Boys? If yes, you love the Yetis.
8. “It Don’t Even” – ET Anderson. When you mix rubbery bass higher in the mix that crunchy guitars, you’ve got a very specific vision for your sound. ET Anderson’s vibe here is strong and impressive, like a slackery Spoon or something. I’m intrigued.
9. “Trouble” – Micah Olsan and the Many. Funk, indie-rock and shades of Hendrix psychedelia come together to make a pulsing, groove-heavy track.
10. “photograph” – crashfaster. Jamiroquai in outer space! Anamanaguchi at the bottom of the sea! Dance-rock with serious sci-fi vibes!
Falcon Arrow‘s Tower is a soaring, powerful, instrumental, drum-and-bass post-rock duo that ranks as one of the best of the year. Now don’t get tricked into thinking this is drone or anything. This album is one of the most acrobatic post-rock albums I’ve heard in a long, long time. Bassist Matt Reints modulates his bass playing several octaves out of normal bass range, making tunes that have heavy, grooving bass foundations and incredible treble-end melodies. It’s astonishing what Reints can wring out of one four-string bass. (The press photo has him playing a four-string. For real. As a bassist, I can’t even believe that this is possible with essentially the same instrument I have.)
Reints is not just a fantastic technician armed with modulating pedals and loopers; he’s a brilliant melodist. And since he’s a bass player, he knows how to use the low-end not just to support the treble, but to interlock with it to create sums bigger than the parts. Finally, since he’s a bass player, there aren’t chords anywhere on this album: everything is done through cascading single-note runs and super-sludgy single note crushers for some grounding. In short, Matt Reints has taken on the job of being the guitarist and the bassist in one of the more complex post-rock bands I’ve ever heard. I have no idea how he remembers everything. I really don’t. Also Dav Kemp plays drums. (Sorry Dav. Bassist geeking out over here.)
You can pick any of the 11 songs on this roughly 40-minute album and have your mind blown, but my two favorites are “Aldebaran Serpent” and “Cantina Empire,” which form the 13-minute heart of the record. (They’re really into sci-fi; JUST ONE MORE THING TO LOVE.) “Aldebaran Serpent” starts off with some crushing, distorted bass, punchy snare hits, and some syncopated bass drum patterns. After inoculating you into the groove, Reints starts tossing off heavily-reverbed runs of high treble notes, creating a gorgeously full sound. Then he modulates up another octave and starts playing even faster, essentially turning his bass into a synthesizer. If your mind’s not blown, I don’t know what will do that for you. “Cantina Empire” leans more heavily on Reints’ traditional instrumental chops, using a swift, clean bass guitar line as the foundation. Kemp supports neatly with some punctuated, staccato drumming. They eventually do drop in a distorted low-end and a reverb-heavy top line; the riff at 1:30 is one of my favorite on the record, especially when put in the full context of the song. It’s an impressive song.
Tower is nothing short of astonishing. It’s gorgeous and impressive on its own melodic merits, but it’s even more mindblowing that two people (and only two people) composed all of this and perform it live. If you’re into post-rock of any variety, you will be blown away by Falcon Arrow. They’re just absolutely incredible.
Dylan Gilbert is a man of many talents. He’s been tirelessly releasing music since 2005, reinventing himself at every turn. Currently he fronts the manic prog/punk/surf outfit Hectorina and abruptly drops impressive acoustic-based solo albums. His latest offering of the latter is Shaken, an 8-song set that relies heavily on his ability of his voice to sound wildly outraged and outrageously wild.
With the exception of the gentle closer, this is an exercise in shout-folk from beginning to end. The ominous title track opens the lot, but he quickly moves away from trying to sound scary and embraces the persona of a person outraged at his misfortune. You can read this just from the titles of “Nobody Knows You When You’re Down and Out,” “Another Beast Washes Ashore” and “This Woman’s Gonna Put Me in the Ground.” His voice and powerfully strummed guitar (those poor guitar strings) come together to create compelling tunes that aren’t exactly Andrew Jackson Jihad, but something pretty near it. Sean Bonnette of AJJ has a nasally voice that he pairs excellently with frantic guitar strum; Gilbert has a very traditionally attractive voice that he just thrashes against the wall of life’s troubles like a dusty rug. Both are very impressive, it should be noted.
Gilbert does two covers here: the traditional “Will the Circle Be Unbroken?” and “You’ve Really Got a Hold on Me.” The former takes a song many people know and pours all the mourning that’s actually there in the lyrics into the vocal performance. The latter tries to infuse the weary misery of the track (again) that’s already there in the lyrics. These are pretty much required listening; the source material for both are some of my favorite tunes of all time, so it’s impressive that Gilbert can take both and breathe fresh life into them. Gilbert’s an astonishingly talented songwriter and performer, and you’d be remiss to not know of his work. Shaken should be your introduction if you’re unfamiliar.
1. “New World” – Grammar. What if the Postal Service had been thought up by a woman instead of a man? Here’s a loose, flexible, smooth take on electro-pop that made me ponder the question.
2. “Gum Wrapper Rings” – Kind Cousin. I love to hear sentimental-yet-complex songwriting, and Kind Cousin delivers. Fans of Laura Stevenson will rejoice in the amalgam of wistful indie-rock guitars, ’50s girl pop vocals, and noisy drumming.
3. “Hold On Tight” – Ed Prosek. Radio-friendly, catchy folk-pop that’s a cross between Ed Sheeran and Phillip Phillips. Yes, that’s a pretty strong litmus test, I know. But it’s true.
4. “White Pine Way” – More than Skies. This impressive track falls somewhere between noisy punk/emo and slicker indie-rock bands like Interpol and Silversun Pickups. Lots of great melodies, but without hitting you over the head with them. Great work here.
5. “Black River” – Wild Leaves. Lush harmonies and ’70s-style production make Laurel Canyon the spiritual home of this track. Fleetwood Mac can come too.
6. “Tulsa Springs” – White White Wolf. Here’s an ominous, mysterious, rugged cabin-folk tune that’s high on atmosphere. (Also, +1 for anything with the name of my hometown in it.)
7. “Ne Brini Za Mene” – Neverdays. The Serbian response to Jason Molina, complete with mournful cello.
8. “Even I” – Grant Valdes. Valdes found a trove of hymns written by Haden Laas (1899-1918), an American soldier in WWI. They didn’t have scores, just words–so Valdes is setting each of the 44 hymns to music. This initial offering is a plaintive, yearning, piano-led tune. I’m super-excited to see where this goes.