Slim Loris hails from Stockholm, Sweden, but you’d never be able to tell based on their sound. They play folky Americana with Shins-esque indie-pop leanings, which should perk up the ears of any longtime reader of this blog. The best example is “Clean as a Whistle,” which blends a tambourine, banjo/acoustic guitar strum, and a Paul Simon-esque flute for an incredibly satisfying verse. The chorus kicks it up a notch, adding in a tom drum, a french horn, and perky background vocals that you will want to shout along with. It’s the sort of the song that makes me sit up and take notice.
But they’re not a one-trick pony: opener “Fear of Flying” is a jubilant indie-pop tune composed of hectic percussion, bouncy organ, steady guitar strum … and timpani. It sounds effortless, just like “Clean as a Whistle.” If you want even more than that, “I Will Forget” and “While I Breathe” are quiet tunes driven by slow, stately piano. In “Domestic,” a gorgeous female alto voice is introduced as a counterpoint to the male tenor vocals. The charm of Slim Loris is that all of these sounds cohabit Future Echoes and Past Replays without sounding disjointed or erratic. The band inhabits all of their sounds, making them sound natural.
The overall effect of Future Echoes is an impressive one: it can easily stand up beside other indie-pop albums from much more well-known bands. Not every track is a home run, but there are a ton of high-quality tracks. If you’re a fan of thoughtful indie-pop with lively arrangements but also a pensive side, I highly recommend checking out Slim Loris.
Way Yes‘ Tog Pebbles is the sort of thing that comes along, blows my mind, and leaves me wondering what to write about. Tog Pebbles‘s unique sound blends tribal rhythms, shimmering guitars, horns, and impressionistic vocals to create a unique sound. It’s like a more grounded Animal Collective; instead of having a mystical quality that AC has, Way Yes has a concrete feel. It’s as if I am walking through a jungle, matter-of-factly, instead of with wide-eyed wonder. Maybe I’m sneaking a few glances of wide-eyed wonder every now and then, but mostly, you know, this is a thing that happens. It’s beautiful and excellent, but it’s not necessarily out of the ordinary (at least to the members of Way Yes). To us, of course, it’s kind of mindblowing, which is why I’m breaking from my usual reviewing methods and going all Pitchfork on this review. EXTENDED METAPHORS EVERYWHERE.
I could tell you about the individual songs, but the album is so tightly written and organized that I feel it would be largely useless. Furthermore, the band doesn’t have to get away from their core sound very often (because their core sound is so unique): if I described each of the songs, it would largely be the same descriptors. But the melodies are excellent, the moods are exquisite, and the songs are wonderful. If you’re into unique sounds but hate the phrase “world music,” then Way Yes has an album that will make you jump. Totally awesome.