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.
1. “Superficial Feeling” – Written Years. This song covers all the bases, stealing bits of electro-indie-pop, big-moment indie-rock and M83-style indie-dance. The song also does pretty much everything right: The arrangement is a slow-burner that heats up to maximum, the vocals are right-on, and the overall effect is perfect.
2. “Future Me Hates Me” – The Beths. I love the deliciously-fuzzy guitar tone and the impressively strong vocals in this power-pop/pop-punk tune. The ascending main guitar riff is also ace.
3. “Number 5 Radio” – Fairburn Royals. In the fine tradition of breaking the fourth wall, this stellar tune is a power-pop song about how to write a power-pop song (in five simple rules). The song itself follows its own rules, and the resulting song is indeed really excellent. Highly recommended.
4. “She Calls” – Tenderfoot. I’m a sucker for a good whoa-oh-oh vocal line, and this tune has a great one. The rest of the song is a catchy, upbeat pop-rock song that’s a lot of fun.
5. “Spoil With The Rest” – Ryley Walker. Transforms from a purveyor of pastoral folk to an explosive indie-rocker with folky leanings–it’s like when The Dodos transformed themselves from frenetic mathy duo to a more dense outfit. Walker’s voice is still relaxed and relaxing, but his electric guitar does the talking here.
6. “Necessaries” – Many Voices Speak. The band here uses reverb to turn the song into an intimate experience instead of to create space; there’s lots of wobbly sounds, bouncing notes, and the like, but it all sounds like a blanket wrapped around me instead of a giant cloud. The loose, unstressed vocals create even more of that warm feel, giving this low-key dream-pop song a magnetic aura.
7. “Blue Love” – JOYNER. Sometimes a chorus pops up and just washes over me with such unavoidable confidence that it compels me to write about the song. The rest of the tune is a thoroughly fine low-key electro-influenced indie-pop tune, but that chorus is just perfect.
8. “Undone” – Greta Isaac. Chipper, friendly, and enthusiastic are all things I look for in a great indie-pop tune. This tune nails it: the arrangement is perky everywhere, the melodies are easily accessible, and there are tons of enthusiastic choral vocals in the chorus. The light electro-pop/glitchy touches make it even more exciting. Here’s one for your summer lists.
9. “Baby” – Basement Revolver. I’m not much into rock songs with heavily distorted guitars these days, but Basement Revolver infuses their songs with so much pathos and desire that it’s hard to not empathize with vocalist Chrisy Hurn. Hurn can belt with the best of them, but her quiet voice is equally as controlled and equally as devastating. The band’s ability to match Hurn’s urgency without turning into a punk rock outfit is further impressive. Just an absolutely bang-up job on this indie-rock tune. Fans of Silversun Pickups will love this.
10. “ABOP” – tunng. Have some low-slung electro-pop from this veteran outfit. There’s an X factor here that comes of having a lot of years in the game–a lot of people can make electro-pop with acoustic leanings, but not many can make it stick.
11. “Favourite Song” – Pizzagirl. The caption on this video says “For best results listen in 1987 at night,” which is spot-on self-awareness. The big synths, the gated snares, the vocal tone, the vocal melodies, it’s all pitch-perfect late ’80s synth-pop. I’m particularly fond of the vocal melodies.
12. “Never There (for bassooning and Crooning)” – Some Professional Help. This almost exactly what it says on the tin: it is a spoken-word-and-bassoon version of CAKE’s “Never There.” As a fan of CAKE and weird conceptual ideas (and how much more a weird conceptual idea involving CAKE), this is hilariously great. Some Professional Help is also a folk-punk-ish band, but this one is literally just Scott Alexander spoofing the spoofers who are CAKE. Please avail yourself of this song.
1. “In the Fields” – Simon D. James. Here’s a lush, sweeping tune that paints a whole landscape. The piano occasionally sounds like an arpeggiator (awesome), the violin swoops all over the place, and the drums hold everything together. It’s bright and folky, but also dense like Decemberists song. It is a great blend of tons of influences into a distinct whole. Highly recommended.
2. “I Won’t Sit Around and Cry” – Jon Patrick Walker. Solid fingerpicking, speedy vocal delivery (not quite Jeffrey Lewis, but similar), some country vibes in the guitar solo, and an indie-pop grin throughout the whole thing. If you’re a fan of folk/indie-pop, this is basically the instantiation of what that combo sounds like. Highly recommended.
3. “The Long Game” – Jonathan Rice. Like Death Cab for Cutie’s “I Will Follow You Into the Dark,” this is an excellent pop ballad unencumbered by flashy arrangements or innovative turns. Instead, there’s an endearing lyrical set, a compelling vocal performance, unforgettable melodies, and a sense of pure songwriting craft. This is a great song written by an expert hand. Highly recommended.
4. “Hank” – Declan O’Donovan. There’s a bit of honky-tonk, a lot of Creedence, and a lot of confidence in this Southerny, folky tune. Special shout-out to the piano player, who really makes this song what it is.
5. “Time Runs Out For Narcissus” – Thomas & The Empty Orchestra. A jaunty, wholesome-sounding folk tune with swift fingerpicking, witty lyrics, and a lovely accordion. If you’re into Justin Townes Earle, Langhorne Slim, or Common Man, you’ll love this.
6. “What I Came Here For” – Luca Fogale. The delicate ease of Joshua Radin rests on this tune, what with the sprightly fingerpicking, the distant piano and the achingly beautiful melodies. The lovely layered vocal arrangements are icing on the fantastic cake. Highly recommended.
7. “Slow It Down” – Sarah Clanton. There’s a hint of Sixpence None the Richer in this dense, acoustic-focused singer-songwriter/pop song, from Clanton’s easygoing vocals to the overall taut-but-smooth atmosphere.
8. “Bare” – Rosie Carney. This one’s a quiet guitar-and-piano rumination anchored by a striking vocal performance from Carney.
9. “I Won’t Move” – Natalie Carolan. A delicate, yearning, searching piece that builds from hear-the-piano-pedals quietude to a smooth, compelling alt-pop piece.
10. “Dark Places” – Maria Kelly. Simple, quiet, and emotionally devastating, this acoustic tune is a delicate, carefully written explanation of how depression feels and acts. Kelly’s voice is alternately fragile and sturdy, underscoring the tensions in the song.
11. “Let Somebody Inside” – David Hopkins. The opening piano/synth arrangement may be a little too heavy on piano ballad conventions for some, but the vocal performance here is gripping and the chorus is just fantastic. The horn arrangement that comes in halfway through caps the song. It’s a great pop song.
1. “Into the Unknown” – The Lighthouse and the Whaler. Just an absolute, A+, oh-wow-2010-was-great, stomping, soaring folk-pop song. It’s like a Lord Huron and Lumineers collaboration that preserves all the best parts of both of their work. There are even “HEY”s. I’m in love.
2. “No Mamma” – Animal House (UK). This is the most infectious British guitar rock tune since Marsicans showed up. It’s got a lot of early ’00s Strokes in it, but it’s more rubbery, more bouncy, and way less preening than Casablancas and co. Yep, just a really great pop song about being young. Ace.
3. “Free Like a Broken Heart” – Birdtalker. If you like your folk/alt-country with a heavy dose of Motown soul, you’ll whip your head in the direction of Birdtalker. The dual vocals are strong, the arrangement is excellent, and the whole thing comes off like a Dawes track coming out of a historic Detroit studio.
4. “Miss Him Too” – Nate Daviau. “You miss the man you fell in love with / honey / I miss him too” is about the most alt-country sentiment I can imagine. It’s aggressive yet mopey, self-aware yet miserable. The crunchy, Jayhawks/Old ’97s-style arrangement fits perfectly with these lyrics. Daviau has a lot of swagger going on in this track.
5. “Less Than Positive” – Michael Nau. There’s some ’50s pop mixing, some loping country-style bass, some Gregory Alan Isakov vocal performance, and bright-shiny guitars all thrown together into a great pop song. If you need a smile but don’t want to go full-on happy, there’s just enough downer here to keep it real (while still being a lot of fun).
6. “Glow” – Brooke Annibale. Power-pop that doesn’t go for the Big Crunch–more like Fountains of Wayne, or Spoon, or even the fuzzed-out elements of Spiritualized. The song keeps an even keel but stays exciting throughout.
7. “Dreaming About You” – Polychrome. Dreamy electro-pop with ODESZA-style post-dub vocal blips and twiddly melodies over a thick synth base. There’s a lot of songs that could be described like that, but this is one that nails it with an X factor, where others just sound like ODESZA.
8. “Please Don’t Let My Art Die” – Marc with a C. Uber-satirist Marc with a C turns his gaze toward the hereafter and pens a plaintive, honest look at what it means to leave behind a legacy as an artist and person. It’s couched in a jangly, punchy power-pop tune that Marc has refined to a T. The a cappella bit at the end is just lovely.
9. “Lake Erie” – Wild Pink. John Ross manages to sound vulnerable and confident at the same time–conveying the emotions of uncertain and confusion in a rock-solid performance. His gentle voice mixes excellently with the jangling indie-rock guitars. This song is full of happy-sad; the sort of sadness that makes some people just happy inside.
10. “Round but Jaded” – Dear Life,. Alternating between a delicate alt-pop tune and a stomping indie-rock one, this track has a lot of sonic diversity. I love a good arpeggiator, and their use of synth is the beating heart of this song. The vocals are also a unique touch.
1. “Dylan Thomas / Bitter Bitter” – The Duke of Norfolk. A Dylan Thomas spoken word clip opens the gates of this track onto a field of wavering strings, distant vocals, gentle percussion, sea waves, and beautiful guitar melodies. It’s a very hopeful scene that gets only more so with the addition of subtle arpeggiator bleeps and a ramped-up tempo. The hope and warm enthusiasm of the track contrast with the lyrics, which are about coming to grips with death of loved one. It’s a statement track, for certain, and it’s a great stake to stick in the ground. Highly recommended. (Full Disclosure: I gave feedback on a pre-mastered version of this track.)
2. “Heat” – Kira May. Well, this is something new and different. There’s some ambient vibes to start the track; a lot of thick, manipulated vocals (think Imogen Heap); engaging “lead bass” work; and a strong, direct vocal performance on top of all of that via May. All of that runs slinky pop vibes (a la Dido) through an art-school filter (a la Talking Heads) to turn up something exciting and unusual. Highly Recommended.
3. “From Osaka, With Love” – Mixtaped Monk. This totally chill instrumental track manages to create the relaxing, soothing vibes of ambient music without losing the sense of forward motion. Gentle electric guitar, intriguing melodic percussion noises, and the oh-so-rare effective use of a slow sweeping/phasing effect on the synths. The addition of full kit percussion adds some post-rock panache, which gives the track heft.
4. “Walkin’ Through” – Emilie Mover. This hushed, intimate folk tune doesn’t walk so much as leisurely float. Mover’s beautiful voice unspools careful melodies over a gently pulsing fingerpicking pattern on a nylon-string guitar. There are crickets in the background, suggesting that Mover is out in a forest near a pond, perhaps, living the romantic life of nature. All in all, a lovely track.
5. “Fake Out” – MUNROE. This is a piano ballad, but it’s not maudlin, campy, overextended, or overstuffed. It features a deeply affecting vocal performance, an insistent piano arrangement, and vocal melodies that are hard to get out of my head. If only all piano work could be this earnest, affecting, and strong.
6. “Shelter” – Stephen Karl & Handsome Animals. I was listening to John K. Samson’s excellent work yesterday. I found myself discussing with my wife that, despite 15 years of listening to new music almost every day, there are some artists that have the X factor (my wife called it “umami“) that can transcend a standard form in an almost indiscernable, indescribable way. Stephen Karl’s work has that umami quality–this is a folk/country tune with train-track percussion, weeping pedal steel, and a baritone vocal performance. Nothing of the piece jumps out as the thing that makes the track great, but every piece contributes to making this song a cut above the rest of the pack doing much the same type of work. Good job, Stephen Karl & Handsome Animals.
7. “Oh Honey” – Neighbor Lady. I can say, “Filters the best of ’50s pop vibes through chill ’90s low-key Britpop and contemporary indie-pop with a dash of punk rock attitude in the vocal performance” or I can say, “This is the sort of song that ends up on so many of your playlists and mix CDs that you start giving this song to people multiple times, unapologetically.”
8. “The Balance” – Tenderfoot. Put The Antlers, The National, and Alt-J in a blender and this smooth, assured indie track might just come out. The way all the elements (strings, vocals, drums, bass, guitars) come together into a single, slicked-back unit is impressive.
9. “The Future” – BAILEY. Here’s a chipper, major-key folk-pop tune that reminds me of Bronze Radio Return and the quieter moments of Magic Giant. The inclusion of keys and whistling is a lot of fun, adding to the good vibes coming from the base arrangement, vocal performance, and lyrics.
10. “Stay” – The Drew Thomson Foundation. This is ’90s-style alt-country (do we still say country-punk?) that has all the charge of a rock song with juuuuust enough country to keep it fresh. The punchy vocal performance and the yearning lyrics are icing on the songwriting cake.
11. “Got It Cheap” – Tom West. This tune makes genre distinctions meaningless: there’s a banjo, some sort of saxophone, horns, some crunchy electric guitar, walking speed tempos, and mournful (yet still catchy) vocals. It’s a pop song of some sort, maybe, but whatever it is, it sounds really “in the pocket.” One that’s worth repeating, for sure.
12. “Doughnuts Forever” – The Orb. Downtempo electronica with trip-hop influences, tropical vibes, and a total sense of cool running through the whole thing. Very polished from this veteran outfit.
1. “Growing Up” – Moon Hooch. I am a big fan of sci-fi in addition to being a big indie music fan, and so I was thoroughly interested in the high-concept animated video that Moon Hooch put together for their latest single. It’s got a lot of concepts that I love: the possibility of time repeating itself, unusual alien/fantasy beings (or humans dressed as them), magic/superpowers, and more. Totally rad. The song itself is classic Moon Hooch: two saxophones dueling it out over dance-rock-oriented drums. The melodies are clever, thoughtful, and fun. It’s hard for me to listen to Moon Hooch without getting totally amped up, because these guys are distilled adrenaline.
2. “Dubai” – Royal. This slice of instrumental hip-hop employs distant spoken and sung vocals to great effect, helping set the mood effectively. The manipulation of the synths and the inclusion of the beats is also ace, as I find myself head-bobbing without thinking about it. Solid.
3. “Sharalee” – Jamison Isaak. Being a huge Teen Daze fan and a person-with-strongly-growing-interest-in-neoclassical-work, I am totally thrilled that Jamison did me a favor and combined the two. This Teen Daze side project takes all of the slowly unfolding melodies and carefully-curated atmosphere that makes his chillwave so great and applies it to classical work. The method is piano, pedal steel guitar, and pad synth–sounds very weird, but it makes perfect sonic sense when you hear it. (As you might expect, from someone who has a ton of experience with melody, arrangement and mood.) It’s pensive, winsome, and elegant. Highly recommended.
4. “Airlocks” – Floating in Space. Rarely does a band name so well describe the experience of listening to a band. Floating in Space creates major-key, wide-screen post-rock that’s reminiscent of Sigur Ros’ work in its sweep and in the vocalist’s tone. The lack of percussion and the glittering pad synths in this piece creates the truly floating feel.
5. “Disenchantment for Truth” – Sleeping Horses. Anyone tracking IC over a long period of time has seen more and more ambient work creep in around the edges of our coverage. I’ve been really enjoying the peacefulness of much ambient work, as well as the generally extended scale on which the sounds can develop. This is a perfect example of the type of thing I’ve been digging: Sleeping Horses creates a slowly-developing piece out of manipulated guitar sound, deliberate fluttering strings and lots of space. The small changes to the arrangement build up over the course of the piece to create a beautiful, emotive landscape.
1. “The Sky Exhaled” – Luke De-Sciscio. This 11-minute piece is remarkable in several ways. First, the piece (which has two movements) is really 11 minutes long. Second, the flowing, tumbling fingerpicking, lithe vocals, and hushed mood remind me at times of Jose Gonzalez and early Iron and Wine. Third, the piece is accompanied by an 11-minute hand-drawn video. It’s a beautiful piece of work, with careful lines and a shading style that evokes intimacy. It’s truly impressive. Highly recommended.
2. “Can’t Cut Loose” – Erin Rae. A loping, lightly country-inflected, ’70s-vintage folk tune led by Rae’s excellent vocals. Her performance is mesmerizing–it’s the whole show here for most of the song. You get high marks for a voice that can captivate an audience like that.
3. “Adelaide” – Strangers by Accident. The NPR Tiny Desk Contest has been a boon for people who love stripped-down versions of tunes and/or concerts in weird places. This particular contest application from Strangers by Accident sees the quartet plying their wares while stranded in a blizzard. You’d never know of their distress without the notes saying so, however, as their crisp, tight folk tune shows no signs of concern. The vocal harmonies are tight, the arrangement is solid, and the song comes off like a dream. The video itself, however, has humorous issues. Good times had by all!
4. “Get Your House In Order” – John Calvin Abney. Somehow manages to make the most standard country template in the country vernacular a. not sound all that country b. reflect a distinctly John Calvin Abney-ish songwriting perspective in the vocal lines c. be relaxing instead of kitschy. I’m super impressed. (Full disclosure: John once engineered part of a record I wrote.)
5. “Elephant Heart” – Elizabeth Gundersen. Gundersen elevates the singer/songwriter staples of a stripped-down piano ballad and a breakup to impressive heights–no matter how tired you are of hearing about love lost, this song is deeply compelling lyrically and vocally.
6. “Greater Charlotte” – Michael Flynn. Double whammy! This poignant, heartbroken piano tune evokes the best moments of Ben Folds Five out of nothing more than a clever piano part, some strings for emphasis, and Flynn’s utterly compelling voice. This is an impressive, mature cut that makes me very interested in the upcoming release.
1. “I Love You Like a Brother” – Alex Lahey. Not a trick–this song is actually about Alex’s totally appropriate (“Just like I oughta”) fraternal affection. The lyrics are shouted above buzzing, fuzzed-out guitar and punchy drums, ultimately landing this track somewhere between pop-punk and power-pop. High praise: Alex Lahey knows how to write great guitar songs.
2. “Terribly Popular” – Marc With a C. Marc contributes a smart, funny satirical take on Taylor Swift and/or Tumblr culture via a chunky, chant-able power-pop tune. If you like power-pop, nerd culture, or satire, you probably are already hip to Marc with a C–but if not, he’s got a new record out called Obscurity that’ll be to your taste.
3. “I Like Taylor Swift” – Coach Hop. We’re equal opportunity here at IC on the T-Swift front. If you loved early ’00s pop punk and early ’90s Weezer, you’ll love the sonic aesthetics, the spot-on vocal melodies, the humorously earnest lyrics, and, oh, basically all of it.
4. “Head Down / Heart Up” – Towers and Trees. A blast of fun from the first goofy image of a pixelated arcade racing game to the final falsetto over the last crunchy power-pop chord.
5. “We Almost Failed, Brian (Epilogue II)” – Cubs Refrain. There is so much deliciously perfect melodrama in this soaring-higher-than-skyscrapers electro-pop tune that I can’t namecheck the probably-very-uncool-artist-that-I-love which it makes me think of. The bass synths provide the frame for the awesome arpeggiator and super-great vocal melodies. The message here: Just revel in a great pop song.
6. “Lydia” – The Magic Lantern. The Magic Lantern delivers a carefully considered, subtly dignified, self-assured folk tune in the great tradition of Paul Simon and followers. (Those who love Fionn Regan will also find themselves swooning.) It’s the sort of perfect vocal performance that speaks volumes without raising its volume.
7. “And Still I Question” – Chaperone Picks. Already a master of the lo-fi recording and distribution aesthetic, Chaperone Picks has one-upped himself/itself and distilled the songwriting into the essence of the songwriting and no more. This song is 63 seconds long, but it says everything it wants to say and does everything it wants to do. It leaves me wanting more, which is a compliment for anyone, no matter how long the track. RIYL: gritty ’90s lo-fi indie.
8. “Uncertain” – Robert Deeble. Deeble’s made so much music under the radar that he has fully developed his own oeuvre. This tune has all the Deeble staples: walking-speed tempos, airy arrangements, a heavy mood, subtle melodies, and Deeble’s feathery voice. The tune comes together beautifully, with a lovely set of strings in the chorus giving the tune extra oomph. This one comes from a record about a complex, difficult adoption, which gives the tune even more emotional weight.
9. “Oh Deep Water” – Great Peacock. Fans of Dawes will resonate with this spacious, well-developed Americana track. The vocal performance is surprisingly grand and very effective.
10. “Small Talk” – Maria Kelly. Dang–this is a knockout quiet tune. Kelly exerts total control over her affecting vocal performance, the somber arrangement, and the vulnerable mood. The results are “knock me over with a feather”-good.
11. “Time Immemorial” – The286. Shades of The Old ’97s, The Beatles, and the tender moments of the Avett Brothers color this lovely, vintage ballad. I can’t shake the feeling that there’s a harpsichord hiding somewhere in this tune, but it may just me appreciating this entry in the long craft tradition of pop songwriting that could reasonably include a harpsichord.
12. “Desert Song (a lullaby)” – Swimming Bell. Layers and layers of vocals and reverb create a sonic equivalent of the aurora borealis over a delicate, spartan guitar. This is majestic.
13. “Fragment II” – boerd. Minimalist techno that’s not quite ambient, this piece skitters along with low-key beats and subtle piano to create a chill, exploratory atmosphere that makes me think of Boards of Canada.
The only way to capture a dream is with art. The mediums of music and visual arts have the ability to put substance to the intangible, an unseen substance taking form before one’s eyes. Listeners can take a trip into a dream, into a mirrored existence with There is Danger. Founder Illya Riske (Reindeer Tiger Team, Whisperlights, Phoenix Afrobeat Orchestra), Spike, Stefan, Leah, Chelsey, Daniel, Jake, Kevin, Matt, Bryan, and Marcus create a fluid, poetic experience; a true marriage of music and lyricism that is the definition of dream pop. Mirror Eyes, via Lumberjack Records, delivers an ethereal narrative.
This sixteen-minute and fifty-nine-second neo-psychedelic journey written by There is Danger and Owen Wilson is best experienced with eyes closed, allowing the listener to fully absorb each nuanced reverberation. Attention to sonic quality is the essence of There is Danger. Mirror Eyes is a symphony that takes no form, enveloping the listener in color and beauty. Each movement is a surrealist moment that brings to mind what dreams may come. The instrumentation here is lush, featuring a depth that resonates with exotic beauty and vision. Stepping into a surrealist space with this record is necessary.
The cover art created by Davina Griego captures the essence of the lyrical dream presented here. Each brush stroke of sound is performed by There is Danger, featuring Andy Montufar on trumpet and David Moroney on backing vocals. Mirror Eyes was recorded by Adam Burd at Avast! Recording Company and mixed by Adam Burd at Burhouse.
The essence of There is Danger is an amalgamation of many moving parts coming together in a creation of color painted with notes. The finale of the work ideal: folding in instrumentation that includes horns and heavy percussion, the tune marches towards a final waking moment. The cacophony of sound and chaos that wraps the release is simply a brilliant finale to the dream.–by Lisa Whealy
1. “Maria” – Frances Luke Accord. FLA make it just sound so easy. This beautiful, svelte indie-folk tune has all the swift fingerpicking a folk fan could want and all the memorable melodies of an indie-pop fan could hope for. Maddeningly, the song is only 120 seconds long. Guys! You could have kept going for like three more minutes without overstaying your welcome! Highly recommended.
2. “Rounded Sound” – Roxy Rawson. “Rounded” isn’t the right term for this kinetic, frenetic indie-folk blitz–the herky-jerky passion of Regina Spektor, the incredibly warm catchiness of Lisa Hannigan, and a liberal dose of her own distinct vision create a wild, enveloping tune that flows, bounces, rushes, and snaps to its own logics. One of the coolest, most interesting tunes I’ve heard all year. Highly Recommended.
3. “Apocryphal Blues” – Harrison Lemke. The first time I heard Harrison Lemke I bought his album after about 2 minutes worth of listening. If you’re into old-school Mountain Goats records (inception all the way until Tallahassee), you’re going to want to do the same thing when you hear this song. Lemke’s vocal tone and melodic tics are similar enough to John Darnielle’s that you can imagine these are lost tMG tapes, but you don’t have to be a tMG obsessive to appreciate the excellent lo-fi pop that Lemke is purveying. (These tunes have far more rounded edges than the id blasts of tMG’s early days, too, which helps.) But there’s warbling electric guitar, bleating harmonica, and an insistently strummed acoustic guitar–just the way you like it, lo-fi heads. (Bonus points: this and subsequent tracks treat Genesis with all the serious but also creative religious imaginary a Christian could hope for in an artist.) I could keep going for a long time, but suffice to say this song and EP are highly recommended.
4. “Rise Up” – Belle of the Fall. Here’s some densely-packed indie-pop/indie-folk, layering glockenspiel, multiple vocal lines, strings, drums, and guitars into a tight sonic space. The interplay of the multiple vocal lines is a lot of fun. Fans of the Decemberists’ songwriting attitude, Belle and Sebastian’s acoustic style, and male/female duos will be very into this.
5. “April to Death” – Flower Face. Flower Face’s delicate, smooth folk arrangements contrast with the speedy Kimya Dawson-esque lyrical delivery and the unexpectedly sordid and painful tale the song tells. There’s a lot going on here–a lot more than meets the ear on first listen. Watch for Flower Face.
6. “Crying Shame” – Jennifer Castle. This is a spartan, ’50s-doo-wop-meets-’70s-Fleetwood-Mac pop song that wriggled its way into my ear and just didn’t leave for a long time. Castle’s vocal melodies are subtle but man, do they ever stick.
7. “I’m Done” – Gordi. If you’re getting out of a bad relationship, do I have a song for you. The gravitas that Gordi can pack into a single vocal line is more than some can do with a whole song or six. Her distinct, unique vocal tone leads the way through this kiss-off acoustic track. There’s a mournful trumpet and some found/manipulated sound, but this tune is all about Gordi’s voice and guitar.
8. “Breathe a Breath of Me” – Lokki. This piano-led ballad is gospel-inspired in so many ways: the dignified piano performance, the thick background vocals, the distinctive vocal rhythms, the call-and-response vocal patterns in the chorus–mmmm. All of those things come together perfectly around a singer/songwriter core to create an excellent tune.
9. “Song for Omer” – Evelyn Kryger. Sort of jazz, sort of folk, sort of Middle Eastern, all chill. This combo has chops and chemistry–this is a smooth, unique, head-bobbing ride.
10. “The sky is clear now” – Stefano Guzzetti. It’s one thing to write an album of solo piano works, but it’s quite another to create an album of very high quality in the genre. Guzzetti clearly knows what he is doing–instead of just creating a beautiful melody or an intriguing bass hand, he sets the mood and tone for the piece as it is going along. There are some other sounds to help create the relaxed, somewhat melancholy mood, but it’s mostly the carefully curated tone of the piano, the subtle timing of the notes, and the relationships between the low end and the treble that create this enveloping mood. A beautiful entry into the genre.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.