So I went running this morning, and it was actually hot. Summer is creeping in, y’all!
Interstitial Summer mix
1. “Confidence” – The Dodos. Here’s a jaw-dropping fusion of intricate guitarwork, indie-rock bombast, and pop sensibility. Thrilled to hear this album.
2. “Southern Belle” – The Radio Reds. Pop-punk is where I’m from, and it’s where I go in summer. This bass-heavy tune reminds me of Titus Andronicus due to the atypical vocal rhythms of the vocalist. Great stuff.
3. “Baton” – Pan. My favorite gleeful post-rockers are back, emphasis on the rock … and the violin.
4. “Back to Bellevue” – Challenger. Summer mixes can always use more ’80s-inspired electro-pop, especially when it’s as bouncy and charming as Challenger’s.
5. “If It Speaks” – Hospital Ships. Hospital Ships plays indie-rock that I immediately recognize but can’t place. Their tunes come from a deep understanding of how indie-rock works, circa 2013. Mighty.
6. “Make It Home” – Hoodie Allen feat. Kina Grannis. Hoodie drops the studio version of the track he and Kina Grannis wrote for Fuze. It starts out with voice and acoustic guitar, but it’s a block party by the halfway point (complete with huge horn sample). The Mets still get a shout-out. It’s still awesome.
7. “You’re Turning From” – Fiery Crash. No summer mix is complete without a lazy, hazy poolside jam.
8. “The Hypnotist” – Owls of the Swamp. And no self-respecting summer mix wouldn’t include a midnight makeout track either, and this Australian indie-folk gem fits the bill perfectly. Swirling, mysterious, and beautiful.
David Ramirez dropped an absolutely mindblowing EP named The Rooster yesterday, and “The Bad Days” is the first cut from the release. If you like singer/songwriters or folk or country or whatever we’re calling it these days, check this out: David Ramirez is winning the game. I’ll have a full rave about it in a few days, but right now, this:
Hoodie Allen has largely graduated from the indie-rock-flipping beats that made me fall in love with him, so it’s nice to hear him doing stuff that kinda goes in that direction. This track is a collaboration with acoustic singer/songwriter Kina Grannis, and it’s pretty awesome. Furthermore, the Mets get a shout-out, so I’m automatically in love with the track. Kina and Hoodie also covered “Anna Sun” by Walk the Moon, which was pretty legit too.
Dresses is from Portland, which explains why the video for jubilant indie-pop tune “Sun Shy” could be called “How to Hipster, 2013 Edition.” I love everything about the song and the video. Holla.
If you’ve got 18 minutes to experience some beautiful tunes, Adam Remnant (of rambunctious alt-country outfit Southeast Engine) debuted four brilliant new acoustic songs on a front porch in the middle of the woods. His weary tenor voice is in full glory in that atmosphere, evocative to a heartbreaking point. Yes. You want to listen to this.
So, back in February I announced that Independent Clauses is organizing a 20-band compilation album covering Give Up by The Postal Service as a 10th birthday celebration. Well, the full release of the now-21-band album is two weeks from today! To get everyone excited about this, we decided to drop a three-song single in advance. And that’s live today!
Whispery indie-rock outfit Listolet’s “Lullaby” video includes animation on dot matrix printer paper. Even if it’s just an animation of dot matrix printer paper, I’m excited that there’s still cultural cachet in that old technology. Love this.
The video for Akron/Family’s “Until the Morning” is a sort of impressionistic take on the electro/folk/indie-pop tune. Engaging, in an odd way.
Brook Pridemore’s “Listening to TPM” video actually is impressionistic, as it’s shot in a style that roughly translates to the actual painting style. The song, reminiscent of latter-day Mountain Goats indie-pop, is also great.
Grossymmetric is the video and music art project of NYC’s Kyle Marler. Marler gives “How Are My Thoughts Not My Own?” an inverted mix of sorts, stripping out the blaring treble synths and squelching bass synths. In their stead, Marler inserts plenty of bedroom synth doodles, found-sound, and gentle beats. This turns the formerly jubilant track into the perfect accompaniment for a 3 a.m. drive home. It’s a unique take on Challenger that I very much enjoy.
I love alliteration, so here’s some of that in this mix of MP3s.
Acoustic April Mix
1. “Honeycomb Heart” – True Gents. A magnificent chorus powers this indie-folk tune from a unique Scottish outfit.
2. “Leave Me Where I Want to Be” – Safe Haven. Front-porch intimacy flows through this combination of New Orleans jazz and Appalachian Americana.
3. “Grew Up Here” – The End of America. Appalachian harmony and a rootsy instrumental arrangement make this an irresistible nugget.
4. “Maybe It’s Best” – Justin Heron. Shuffle snare, bright guitar tone, and whispery vocals? Yup, I’m in.
5. “Sharks!” – Common Shiner. This band’s website is SayNoToBadPop.com. That’s awesome. Their acoustic-fronted power-pop echoes Something Corporate and Motion City Soundtrack.
6. “Pretty Face” – Among Giants. I love the vocals here: raw, passionate, and real.
7. “Playing Pretend” – Joshua Steven Ling. The deeply saddening passing of Jason Molina has gotten me back into slow-moving, quiet, morose recordings and their particular type of beauty.
8. “The Lionness” – OfeliaDorme. On that note, here’s a beautiful cover of my favorite Jason Molina song.
9. “Myopic” – Jura. Transcendent beauty that invokes The Album Leaf’s sense of patience.
I’ve covered French duo Charlotte and Magon since January 2011, and I’ve been mesmerized by their pensive, mysterious indie-rock that draws just as much from trip-hop and Fleetwood Mac as it does any current band. Life Factory is their first full release, and it delivers on the promise. Charlotte’s alto voice commands the stark, crisp tunes with easy authority, and the whole project comes off with a dramatic flair. They can go a bit overboard on the drama in places (“Dice,” “Shellshock”), but tunes like “Motoroïde” and “Black Horses” are excellent songs that make me excited for the future of this band.
Italian band OfeliaDorme is the perfect companion to Charlotte and Magon, as the bands share similarities in sparse, stark mood and atmosphere. The veterans in OfeliaDorme make Bloodroot a standout by not wasting a single moment: every bit is thoughtfully considered, causing the tunes to seem effortless. (Isn’t that always the way?) Vocalist Francesca Bono sits atop the mix, delivering her vocals in a straightforward, almost entrancing voice. Her voice melds equally well to spacious, gloomy tunes (“Brussels,” “Predictable”) and upbeat pop moments (“Ulysses,” “Stuttering Morning”), which results in a nicely varied group of songs. It’s a credit to the band’s songwriting skill that the album still holds together well as a unit. Bloodroot is an album that you can put on and enjoy in its entirety. If you’re into music that makes small arrangements sound gorgeous, this one’s for you.
Swedish outfit E321 adheres more closely to the post-rock idiom than the two previous bands, but they still keep a candle for gloomy, spare atmospheres on three-song release Among the Trees. Opener “The Naked Sea” builds from a lone guitar playing forlorn melodies to a heavy rock section, complete with spoken/yelled vocals that give it a vaguely post-hardcore vibe. “They Call Us Human” and “Among the Trees” follow a similar pattern, but make the quiets quieter and the louds louder. The band shines when it’s turning morose moments into aggressive ones, although E321 doesn’t go all the way by attempting Isis levels of earsplitting clamor. Instead, the band dials in to their comfort zone and turns out really effective, evocative tunes. If you’re into things that have a post- attached to their name, you should check out E321.
Signals to Vega is from Lake Charles, Louisiana, which is interesting because A. it breaks the streak of international bands in this post and B. I once spent a weekend marooned there because of a car wreck. I hold no hard feelings against the town, but if I did I think STV would help exorcise them. This duo does aspire towards the towering metal/post-rock fusions of Isis, as the 10-minute-long lead track “Fear Not the Cycle of Life” alternates between poignant sections of twinkling beauty and roaring double-pedal excursions. The band does both well on Into the Arms of Infinity, as they never lose sight of the melody in the crush of hugely distorted background guitar. No vocals on this one; you’ve just got lots of trilling, soaring guitar to admire. This will make answering e-mails sound way more dramatic and important.
The video for Anne Marie Almedal’s “Winter Song” takes the title literally, placing Almedal in a snow-laden forest and having her wave her arms around a bunch. I know that sounds ridiculous, but hear the song out: it’s gorgeous.
Austinites The Noise Revival Orchestra toured China, and they made a 13-minute tour documentary. This mesmerizing video is not your average tour doc at all, and you should check it out the first chance you get. Which is right now, if you’re reading this. Seriously. Do it.
Remember that whole “Quiet Is the New Loud” movement that Kings of Convenience were at the front of in the 2000s? I loved that stuff. So did, apparently, Australians Breaking Hart Benton, whose lovely video for “More Than You Deserve” evokes both the beauty of the acoustic tune and the alienness of the past.
So the actual video for Phosphorescent’s “Song for Zula” is not the main draw here: I mostly just want you to listen to the heartbreakingly beautiful “Song for Zula” again.
Not gonna lie, Deb Oh and the Cavaliers’ video for “Primacy” reads like a a/v version of “What Hipsters Love.” But there’s a reason we love fencing, and globes, and slo-mo water droplets, and ink blots in water: because they’re fun to watch. (Also because they’re indicative of certain social structures that…oh nevermind, it’s just fun to watch.)
Another mixtape! This one’s predominantly dark indie rock, instrumental hip-hop, and lush indie.
0. “Need Parmesan” – Pjaro. From the surrealistically named Why Is No One Here I Can Make You Alt comes a crazy instrumental indie-rock piece that’s like a post-rock piece if Two Gallants were trying to play the genre and out of frustration they gave up and played really loud. This one’s surprising and intriguing.
1. “Waiting” – Program. Remember the mid ’00s, when everything was super-epic because The Arcade Fire ruled and everyone wanted to be like them? I loved that time. Program remember that time well, with synths and toms and all the right stops’n'starts.
2. “Liar Liar” – Vienna Ditto. Someday, all genres will be one genre, and I’ll be out of a job. Until then, it’s my job to tell you that tribal drums, Portishead-style vocals and swaggering guitar riffs come together for some crazy, gripping music here.
3. “View of My Sanity” – Anna Lena and the Orchids. Another singer/songwriter indebted to the icy soundscapes and incisive vocals of Portishead, another beautiful tune.
4. “Endless Possibilities” – The Boxing Lesson. Space rock that consumed an orchestra? Sign me up.
5. “Proto” – Ryan Hemsworth. This one comes from Mitsuda, the hip-hop tribute to video game soundtrack creator Yasunori Mitsuda (Chrono Trigger). YES TO THE YES.
6. “I Still Think of You From Time to Time” – Louville. Trombones, pulsing beats, and wiry synths come together to form … euphoric electronica? Whatever, just roll with its beauty.
7. “Nothing Left to Say” – Poldoore. Super cool heist movies, take notice: here’s a candidate for your next soundtrack inclusion.
8. “Staying In” – Ola Podrida. Mysterious tune that kinda sounds like a dungeon level soundtrack, until the beautiful chorus kicks in.
9. “Chinese Paper Cuts” – Own Goal. The sparse instrumentation creates a unique indie-soul atmosphere that will appeal to fans of The Antlers.
10. “Blue Elvis” – Peals. It sounds like two guys sitting on the porch making beautiful, low-key, beautiful instrumental music because they can. I dig it.
11. “Seven” – Qualia. Loose, chill, moving post-rock that evokes The Album Leaf, lazy Saturday afternoons and/or epic realizations. Wonderful stuff.
Stephen Carradini writes far too many words about music you may or may not have heard of. Sometimes he takes pictures of aforementioned bands.