Independent Clauses | n. —unusual words about underappreciated music

June Singles 2: Less Whiplash, Mostly Indie Pop and Folk

June 20, 2018

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.

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June Singles 1: Whiplash

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.

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Premiere: Tiphanie Doucet’s “Under My Sun”

June 8, 2018

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.

Photo by Non Lineard Knitting.

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)

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Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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