Cesaréa is a ten song journey, a blend of western influences and the tales of a true road dog told with a mature lyricism. From the scent of pine trees and small town life in the opening track “The Town Where I’m From” to the simple “In My Thoughts,” listeners are invited into authentic and vulnerable world of Charles Ellsworth via his third full-length release as a solo artist.
There are no mistakes in who crosses someone’s path in life. “Right around the time I turned 22, I was in Las Vegas with a group of some of my oldest friends. On one particularly hungover/still drunk afternoon, I was talking with a friend about how neither of us knew exactly what we wanted to do with our lives. He was about to head to the Peace Corps for a couple years, and I had just gone through a bad band breakup and had decided to go back to Utah to finish my Bachelor’s degree,” said Charles Ellsworth, when asked about the origins of his latest album set to drop May 26th, 2017. It was prior to his emotional musical breakup that this listener first crossed paths with Ellsworth and heard his story. Swearing off music to focus on film, this wandering man was was truly born, more open to the possibilities of life.
Ellsworth grew up in logging country of Arizona’s White Mountains where families are generationally embedded into the land. This simple life instilled in Ellsworth the value of hard work and sacrifice. These values show in songs like “California,” an uptempo Americana folk trip about moving on. Long a favorite at live shows, this mix has created a beast with soaring guitar work from Jon Rauhouse. The beautifully arranged waltz of “Hold On to Me” shows the trust that Ellsworth has in producer Bob Hoag at Flying Blanket Recording (Courtney Marie Andrews, The Format, Gin Blossoms) in Mesa, Arizona. Another song first heard live, this song has been brilliantly transformed into a lush ballad with an elegant tempo and instrumentation: a barn dance for two with the rest of the world listening.
Every path in life comes full circle, allowing the traveler opportunities to get lost along the way. Originally meeting and working with the producer Bob Hoag, the intentional life was born without any realization of the destination at that point. Ellsworth’s friend that joined the Peace Corps gave him a parting gift. “At some point I told him I just wanted to write, play music, and travel the world. I didn’t care about money, I cared about a life spent creating from outside my comfort zone. He suggested that I read The Savage Detectives by Roberto Bolaño. I read it in the final week of the summer before starting school again. It immediately became one of my favorite books, and without realizing it at the time, influenced most of my decisions that have led me to now.”
Being on the road of life is the only way to find new experiences outside one’s comfort zone, in true Tom Waits fashion. “50 Cent Smile” is the first single off Cesaréa. The song is a connection to the man that was and the man that moved to Brooklyn, New York, after years of touring with a guitar. Ellsworth toured with and without his friend Tres Wilson (AKA Shadow Puppet), wandering from Salt Lake City north, west, east, and south to all parts in between. “50 Cent Smile” is a song mirroring the western freewheeling mentality that was inspired by John Steinbeck’s classic East of Eden. Lyrically the song taps into the questions that are posed in the classic American novel, exceptionally relevant in the world today.
“I re-read The Savage Detectives while in the studio last year and was blown away by the fact that I was still doing what I wanted to all those years ago. I decided to name the album Cesaréa after one of the characters in the book. While the album isn’t necessarily about the book, the album wouldn’t exist without it,” says Charles Ellsworth when asked recently about his upcoming album.
“Growing Up Ain’t Easy” and “Dyre Straitz” have a totally different feel for the singer. Giving voice to a more mature musician coming from a place outside of his comfort zone, it’s like the first time you ride the A Train from north Manhattan to south Brooklyn: the thirty-one mile stretch is a lifetime of change. Solid instrumentally, the resonance in Ellsworth’s vocal delivery has matured as well.
Some tracks on Cesaréa have been years in the making, having appeared in other incarnations on previous releases. “Always Looking Twice” is one of those uptempo moments of greatness that happens on this album. A new instrumentation that includes piano, movement and familiar images flickers like a crooked smile at long time fans. With its sprinkling of the road, this song sets up at the entrance to the American songbook.
Heading full circle and out of the album, “Sunday Shoes” is the connective tissue for the lyrics. The arrangement and vocal delivery gives a western strength to a song that has been evolving for years on the road, with roots in the logging country of the Arizona White Mountains where Ellsworth is from. Sprinkled with piano, the city is part of the landscape and the mountains part of the foundation in the music of Charles Ellsworth. There is a strength and confidence in his lyrical craftsmanship, an undeniable thing that cannot really be taught. Like Jason Isbell‘s highly anticipated The Nashville Sound and The American West’s The Soot Will Bring Us Back Again, this album comes out of experience that shape artistic sensibilities.
Now on the third section of his quest, like The Savage Detectives, musician and songwriter Charles Ellsworth is narrator of this story. He combines solo, acoustic, live, and collaborative releases that have culminated in the masterwork of Cesaréa. Ellsworth is destined to join the collection of folk country troubadours that are part of the American songbook.–Lisa Whealy
Love can be a fickle mistress, filled with hope and expectation, fear and anticipation. Grover Anderson has found a way to tap into the journey almost everyone experiences in his new album From the Pink Room. This new acoustic album, released March 3, 2017, is a simple, sweet expression of how a skilled songwriter shares his perceptions acoustically with incredible ease.
As the story goes, the musician holed up in the back room of his house that is covered with pink striped walls. The concept of this album was born out of a meeting with a woman. She had been in a relationship for seven years; the house’s previous owner had painted the room with the vibrant color. It is also known as the healing color for the heart chakra, making this album all the more special.
Anderson opens the album with “Evergreen” as an intentional hope for the future. The growth of something special is like the organic path of life. With exceptional talent, Anderson’s fingerpicking guitar fits the content. When telling a story like this, it could be easy to get lost, but Anderson paints a masterpiece landscape with the songs. Harry Nilsson comes to mind in “Parallel,” challenging listeners to come along for the ride, soulful and real. The lyrical landscape here is full of imagery, and the sensory exploration of “Natural Bridges” is no exception. Raw and unapologetic, it is a challenge to get real. It is also a tribute to the landmark that graces Calaveras County, where Anderson grew up–undoubtedly a hangout for the locals.
The great thing about music that fits into the Great American Songbook is that there is depth and substance in telling the American experience. This album is no exception, painting a picture through the color spectrum. “Holes” hits the dark places between relationships, often painful and uncertain. Part of the experience with this auditory picture book is the cover art design and artwork by Alexis Wagner; the color spectrum is the left to right vision that parallels the album. “Little Spoon” is the uptempo romp that square dances its way through the middle of the album–a heartbeat of hope and joy.
It is not strange how art is shaped by real life. “Willie Nelson” and “For Goose” both touch on grief and the power it has over a life left to live. Haunting and hopeful, the two songs contrast each other like complimentary colors in a garden of flowers. What lessons are learned is the message, but the memory is the real foundation. “Boulder” is one of the absolute standouts on an exceptional indie acoustic guitar release. In covering The Smiths’ classic “There Is A Light That Never Goes Out,” Anderson shows off a stellar mix of simplicity and power. Haunting and painful, the song resonates with every and any broken heart. Emotions bleed through the vocal delivery from Anderson.
A full fourteen songs includes “Old Songs” as a mash-up of other music, creative and fresh. Taking it back into the breakup of love, “Ember” is a rip-to-shreds appraisal of a she-devil mankiller. A lyrical masterclass, it is a joy to feel the burn. “The Best You Can” has also found its way onto From The Pink Room, taking everything full circle. Its acoustic elegance is wrapped in a neat package. A fourteen-song journey through the spectrum of emotions as well as color, this album is Americana Country at its finest.–Lisa Whealy
Prana Crafter’s psychedelic bliss always leaves me wanting more. After reviewing last year’s album, Rupture of Planes, I could not wait to get my hands on what William Sol had brewing next. And MindStreamBlessing was worth the anticipation. Just as the album’s title suggests, the tracks take me on a matchless journey, with no vocals and quite the range of instruments. Each instrument used brings its own flavor to the collection of six songs.
Released last month, MindStreamBlessing is an entrance to a world I wish I knew more intimately. The tracks feel playful yet seductive, as they show us a peek into the Washington woodlands. The first song, “At Agartha’s Gate,” is the most inviting, as the acoustic and electric guitar sweetly set the mood. As the album progresses, I notice that since this collection contains no vocals, the instruments are left to tell the stories, akin to orchestral works. Each time a particular instrument–like the electric guitar, drums, or synth–appears, they are like actors on a stage. For example, the intricate electric guitar work that is sprinkled in this first song fully grows into its soulful skin by the last track.
Similarly, the acoustic guitar that starts off the album returns in the title song “MindStreamBlessing” to show off more of its sassy personality. With each track, the first guitar or bass lays the rhythmic foundation so that a second, often electric, guitar can enter in and take the lead. That second guitar usually comes in and sings a soulful, jazzy tune. Similar to Jimi Hendrix, you never know when the lead electric guitar plans on ending its rant.
Percussion is also a great addition to this album. In “As the Weather Commands,” the beating of the drums tells a story of movement. Picture someone playing wooden drums for a show, perhaps snakes coming out of baskets. Then, my favorite track off the album: “Luminous Clouds” opens up with what sounds like a recording of the night woodland wind and slowly builds until about halfway in, where a tambourine, guitar, and drum circle combination immediately thrust my thoughts to the middle of the woods, dancing around a bonfire. And since that’s one of my favorite places to be, I certainly don’t mind that.
At large, there’s a cyclical nature to MindStreamBlessing. Each track feels orchestrated by jazz musicians. Even when the lead electric guitar does go off on soulful displays of its power, it always seems to cycle back to an established rhythm, giving the album an effect of falling slowly down a concentric helical spring. Finally, the organ-like synth sounds which make a continual appearance throughout the collection add just the right amount of eeriness to complete the album’s wall of sound.
Prana Crafter’s MindStreamBlessing proves itself as another magical journey, clearly constructed by an adventurous soul.–Krisann Janowitz
Lights & Motion‘s Dear Avalanche delivers more of the high-drama, major-key post-rock that composer Christoffer Franzen has come to be known for. Fans of this style of post-rock already know what to expect from a Lights & Motion album, and Franzen does not disappoint: there are a lot of delicate melodies that grow into giant codas, big explosions of sound, and pounding percussion.
There are a few new touches (or old touches with new emphasis): Vocals appear in standout “Silver Lining,” which will appeal to fans of Sigur Ros; “Perfect Symmetry” includes some intriguing patterned piano playing; “DNA” is a stomping, aggressive minor-key piece. Beyond these small changes, Franzen sticks to what works: closer “We Only Have Forever” opens with a celebratory guitar melody underpinned by punchy drums and big pad synths, then grows to a giant, revelatory conclusion. Fans of enthusiastic, cinematic post-rock will find much to love in Dear Avalanche.
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Jake McKelvie‘s The Rhinestone Busboy EPis an alt-country record mostly because of the tone in which he sings and the lyrics he pairs with his traditional, spartan country arrangements. If McKelvie had a baritone drawl, this would be pretty close to vintage country. Instead, McKelvie’s voice is a wobbly tenor, and his lyrics include lines like “‘Cause I flat-out can’t kiss you with food in my mouth” and “I’m a brutal believer, you’re a tongue-tied late teether.” There’s a tension between these two elements, with neither the “alt” or the “country” winning out.
Instead of sounding goofy or unrealistic, McKelvie’s slightly warped delivery and alternately quirky/incisive lyrics are lent gravitas by the precise guitar strum and subtle arrangements. The results are a set of tunes that sound like a usually-cheery person trying to cope with a broken heart, trying to be mature about things but really just not wanting to. Like this set of lines from standout “Fantasy Team”: “And it’s time for me to leave / To practice my cursive and eat lots of ice cream / And buy a new weight set to leave / In the box that it comes in and draft my new fantasy team.” Pretty real, man. If you’re not into stark alt-country, these six tunes may all sound similar; but if you’re a card-carrying sad-song-person, this one will be a great friend in your next sad-song-binge.
Side projects can be confusing whims, cross-genre experimentations, or weird one-off collaborations. They can also be unhurried, easygoing works that reveal new facets of musicians.
Tim Carr‘s The Last Day of Fightinghas that unhurried ease in spades. His indie-pop/folk album has overtones of French pop in the meandering vocal melodies, airy guitars, and lazy rhythms; these together create a short album that’s relaxing to listen to. “Easy for Me” is not just a fitting title to add on such a flowing album, it’s a standout tune that sees Carr’s room-echo vocal performance mesh beautifully with a rolling, tumbling acoustic guitar performance. Carr’s sleepy-around-the-edges tenor recalls Paul Simon’s at times in this Simon and Garfunkel-esque tune. “Beyond You” and “The Last Day of Fighting” also show off his folky bonafides, while “Kindred One” has some rhythmic alterations that give the tune a different, slightly African feel.
No matter what track you’re listening to on The Last Day of Fighting, you’re sure to hear some relaxing, enjoyable acoustic music. Lots to love here.
Some artists are so idiosyncratic that they become required listening despite whether you like that style or not. Depending on their popular success, these people are the greats or the “songwriter’s songwriter.” I’m talking Kendrick Lamar, Beyonce, Leonard Cohen, Bob Dylan, Daniel Johnston, The Gorillaz: people who are doing their own thing with a very specific, easily identifiable creative vision. Matthew Squires has been developing a very distinct creative vision for a while now, and Tambaleo brings his fractured, angular, skeptically-but-knowledgably-religious indie-pop to new heights.
The main focus of these songs is Squires’ weary, slightly off-kilter tenor. It’s not your standard voice, even for that particular region of the indie-pop map which celebrates the atypical and imperfect. Squires’ voice rotates between being a spot-on melody maker (“Welcome”), a speak/sing drawl (“Sex & Tragedy”), a slurry dartboard (“Unwholesome Health”), and an onomatopoeic sound machine (“Grace’s Drum”). Sometimes it’s all of these in the space of a single song or even the space of a few lines. For some, the singing will be the reason for attendance; for others, it will be the price of admission. Whichever end of the spectrum you land on, it’s a distinct voice.
The arrangements here are also excellent. Packed full of instruments that seem to be taking their own path through the track at loping tempos, these individual performances come together to fill out Squires’ unique songwriting sensibility. Squires is endlessly inventive and not afraid to experiment with tones, textures, rhythms, and instrument pairings. This makes for songs that clang (“Dead or Dying”), skip along in a twee fashion [“Hosanna (Devotional #3)”], push along in a recognizably indie-pop manner (“Welcome”), and even get their pop-rock on … sort of (“Shape of Your Heart”). All of them have a left turn about every 20 seconds. Some albums keep you on your toes; this one will have you en pointe.
One of the most interesting things about Squires is his continued relationship with religion in his lyrics. Squires is well versed: like any honest religious person, there are moments of certitude, moments of doubt, and moments of skepticism in his relationship to religion. “Unwholesome Health” opens with “Judas was all alone / when he called me on the telephone / and told me about the pain he had caused / about Mary’s face when her Son was torn apart,” while “Welcome” closes with Squires speaking to himself: “You were named after a friend of the son of God / now bracket for a moment whether God exists or not / Have you been kind? / Have you been kind? / Have you been kind?” “Hosanna (Devotional #3)” wears the references on its titular sleeve, while other songs weave religious characters, terms and ideas through the lyrics more subtly. It treats religion as not something to be partitioned away from life, but woven all through it. I dig it.
Not every song on Tambaleo is independently majestic (“Debt Song” isn’t my favorite), but the whole collection is a deeply thoughtful, incredibly well-crafted album from a musician who is hitting his stride. This is the sort of album that not very many people could have made; a wild array of influences mesh into a idiosyncratic, deeply interesting album. Recommended.
Learning how to write in a genre can be a lifelong exploration, even for the most talented of musicians: Josh Ritter has made a whole career exploring the nooks and crannies of modern folk. The Mountain Goats spent a whole decade mastering the lo-fi recording before spending another 15 years doing indie-pop in tons of different styles. As a result of the difficulty and time required to be an expert in one genre, skepticism is warranted when an artist leaves their home genre for another.
This is an even more risky proposition when the target isn’t one new genre, but a multi-genre, broadly “pop” album. Yet despite these many cards stacked against Alex Dezen‘s second solo outing II, the former Damnwells frontman has created a fascinating, incredibly enjoyable album that dabbles in half-a-dozen pop genres. It’s proof of Dezen’s songwriting prowess that he’s not just great in one genre: he’s great in a bunch of them.
Dezen doesn’t try to hide that’s he indulging in any flight of fancy that comes his way: The album opens with “When You Give Up,” a Miami Vice-esque noir new wave tune. Dezen’s lithe voice shines here; not only could he sing the phone book and make it sound great, he could sing it in a wide variety of genres, as well. His knack for catchy melodies is on display everywhere, from the vocal melodies to acoustic guitar riffs to blocky synth blasts. “Holding on to You (Holding on to Me)” has more ’80s rock vibes–this time more Heart than Blondie (“Barracuda,” in particular). As ever, the chorus hook is polished till it glows–you’ll be mumbling “holdingontoyou / holdingontoME” for a long while afterwards.
From there on, Dezen goes in full-on world tour mode. “Randolph Tonight” is CCR-esque swamp rock; “I Am a Racist” is a straight-up doo-wop tune; “New York to Paradise” is a lost Billy Joel piano ballad; “Fuck or Fight” is an Eagles-style country-rock rambler. None of these songs feel insincere or mishandled; Dezen waltzes his way through each of them with a deft hand. It’s even more to his credit that he played almost every instrument on this album. It’s one thing to write a melody in a different genre, and it’s another thing entirely to have the chops on multiple instruments to pull off a whole arrangement in another genre.
My favorite tunes here are ones that pair excellent arrangements with incisive, carefully wrought lyrics. The REM jangle of “I Had a Band” relates anecdotes from a coming-of-age tale with the emotionally charged punch line “I never had much of a father / but I had a band / yeah, I had a band.” Anyone who’s been in a band will relate to the loving, wry tone that runs through the lyrics, whether or not your relationship with your father was great. IC had the distinct honor of premiering the Graceland-inspired “Everything’s Great (Everything’s Terrible),” which has a thoughtful set of lyrics about people in the contemporary moment just trying to make it through. The acoustic closer “The Boys of Bummer” is a lovely song about people who write sad songs by a person who writes sad songs. The dignity with which the characters meander through the tune makes me think of The Hold Steady.
Because of the herculean effort Dezen expends on every track, the album is only 9 songs. Yet in those nine songs he creates his own personal version of the radio, putting his imprint on pop music. It’s a rare album that manages to pull off all that Dezen does here: this is a fully-realized album on “extra difficulty” mode. If you like pop music in any way, shape, or form, you need to hear this album. Highly recommended.
Closing out 2016 with a free download of their EP Joshua Tree, the cacophony of sound that is Moon Hooch throws down a bold statement: Just dance. The EP is a simple thank you to fans for a widely successful year that included sell-out shows across Europe and the United States, along with critical acclaim for Red Sky.
“We rented a house and set up a little studio in the Mojave desert just outside of Joshua Tree National Park,” explains Wenzl McGowen. “We got together in the same room with our instruments and said, ‘Let’s just hit it’ and started playing whatever came to our minds. Somehow this process created eight songs. Don’t ask us where they came from, but we certainly enjoyed bringing them to this planet.”
Drenched in the surreal quality of the Joshua Tree environment, this EP opens with “Sandstorm,” hitting that desert rave on fire. Overarching melodies from the swirling horns repeat with a precision that is cohesive in its chaos, like desert sands–each minute but necessary. “Dancing Dwarf” brings it in a notch but still has that controlled lullaby of screaming saxophone. (It’s been said that the saxophone is the closest instrument to the human voice.) Not needing to be jazz or fusion allows Moon Hooch to just be. No explanations needed.
Stalking out of the party, “Mountain Lion” sprinkles in the middle eastern flavor that has influenced much of the band’s evolution, philosophy, and social consciousness. The dance party slides in to create the shout of “Jiggle.” Melodic sax soars and shouts lyrics with a staccato, jazz-infused mayhem that bringings to mind the roaring twenties. Hitting a stride halfway through, twisting and stealthy, spiraling into another dimension, is a final crazy “Criminals” breakdown.
To explain “Improv Intro” seems silly. Just listen. The three musicians demonstrate the skill and brotherhood that has developed, as each fit a groove. “Improv” feels like a creation from another universe and quite possibly is. This fusion of metal, jazz, experimental, and improvisation brings chills in an auditory freak-out that feels oh so good.
“Ballad” is a close your eyes and dream moment on rapid fire release, a brief sensory experience. “Outer Urge” brings to a close a journey that is a gift to experience. Looping back around to the beginning with familiar composition is an intriguing skill that Moon Hooch keeps in their arsenal. Regardless the point is above all else: just dance. —Lisa Whealy
Moon Hooch will hit the road on both coasts and abroad in 2017, starting in February:
February 1 – Washington, DC – U Street Music Hall February 2 – Morgantown, WV – Main Stage February 3 – Columbus, OH – Winter Werk Out February 4 – Ferndale, MI – Otus Supply February 8 – Buffalo, NY – Buffalo Iron Works February 9 – Saranac Lake, NY – Waterhole February 10 – Burlington, VT – Higher Ground February 11 – Northampton, MA – Pearl Street Clubroom February 12 – Hamden, CT – The Ballroom @ Outer Space February 18 – Brooklyn, NY – Brooklyn Bowl February 22 – Santa Cruz, CA – The Catalyst Atrium February 23 – Chico, CA – Lost On Main February 24 – San Francisco, CA – The Fillmore February 25 – Petaluma, CA – Mystic Theatre February 28 – Charlottesville, VA – The Jefferson March 1 – Charleston, SC – Pour House March 2 – Tampa, FL – Crowbar March 3 – Gainesville, FL – Changeville Festival March 4 – Tallahassee, FL – The SideBar Theatre June 2 – Oslo, NO – Nattjazz Festival September 22 – Thornville, OH – Resonance Music & Arts Festival
Cindertalk‘sAll a Shimmer is an ostensibly-indie-pop album that transcends boundaries and genre labels, creating a mind-bending world of tensions: complex/spartan arrangements; huge/tiny lyrical concerns; vulnerable/brash emotive turns; dark/light moods; gentle/forceful instrumentation; subtle/powerful vocals. Jonny Rodgers’ work with tuned glass shows through consistently, but never dominates; instead, all the pieces come together into whirling, enigmatic, satisfyingly unusual pieces.
Rodgers has been working with tuned glass for a long time now, and the glass has transcended use as a side or even feature instrument. It is now an integral part of his work, an instrument that has expanded his sense of what is possible in a song. Rodgers can use the glass as a beautiful pad synth (“Ruminating,” “All A Shimmer”), a feathery mini orchestra (“You Will Suffer”), a guitar solo (“One of Their Own”), a lead riff [“Swing (Your Low Song)”], a marimba-esque percussion element (“Mutter Mutter Mutter”) and as a foil to Imogen Heap-style autotune (“Twitter Queen”).
It’s not just that the instrument is used in so many different ways; it has so thoroughly suffused Rodgers’ songwriting that the sounds and rhythms of other instruments are intertwined and influenced by the glass. The percussion here is muted throughout, hitting with punch but not snap; whether subtle electronic beats (“The Frozen Field”), distant kit drum (“Twitter Queen,” “Hurrah Hurrah,” “One of Their Own”), or something in-between (“Mutter Mutter Mutter”), the percussion here fits perfectly in against the glass and the rest of the indie-pop arrangements. The guitars, piano, and bass (often through bass keys) have similarly unique personality as a result of their interaction with the glass. The guitar is sometimes precise and patterned like glass-tapping, while the piano often lush yet precise in its stops and starts. This is a musical album like none you’ve ever heard before.
However, it’s not just the instrumental prowess that makes this an irresistible album. The vocal tone and vocal melodies are beautiful and catchy. (Those two adjectives don’t always go together.) From the forceful indie-rock attitude of “Mutter Mutter Mutter” to the yearning beauty of “Love, I Will Remember Your Hands” to the swooping “Swing (Your Low Song),” many of these songs have distinct, precise, memorable melodies that don’t blend into each other. There’s a theme throughout (these aren’t unrelated pieces), but I find myself humming many different melodies from this album, not just one or two. This is partially due to Rodgers’ unusually wide vocal range: his voice can reach to dramatic, perfectly-sustained high notes that make the vocals seem almost as crystalline as the glass. You’ll hear his voice once and remember it.
The lyrics that Rodgers pairs with the music are equally as impressive as the music, which is no small feat. Not a single song here traffics in cliches except “Twitter Queen,” which does so to subvert them in uncomfortable, social-commentary-laden ways. Elsewhere, he writes a love song to his lover’s hands, discusses why death may not be the worst possible thing that can happen to you (solo piano elegy “I’m Only Dying”), thinks through mental and emotional suffering (“Ruminating,” “You Will Suffer,”), ponders the problem of evil (“All A Shimmer”), and more. (I’m still not entirely done pondering what the lyrics of “Hurrah Hurrah” mean when paired with the minor/major tension of the instrumental accompaniment, but it is the type of song that will make you think about it.)
The whole album is a powerhouse, but there’s a suite of three songs in the middle that really took my breath away. “Ruminating” is the closest to an indie-pop song that Cindertalk gets on this record, as the glass, acoustic guitar, percussion, and harmonica come together to form a song that flips back and forth from airy openness to concrete, almost-country-esque sections. The melodies and lyrics are straightforward (at least as compared to the rest of the album), but they’re still unique and lovely. This fun tune leads into my favorite song of the record, “You Will Suffer.” The opening lyrics tell you everything you need to know about the content of the song and the complex rhythmic patterns that flow through it: “You / You will suffer / some things alone / but it / it / will show you / who you are / who you are.” The bass guitar doesn’t have too many important roles on this record (and this one may still be a guitar modulated down a couple octaves), but the bass here does some great work, along with the keys and the glass. It’s a whirling, complex song–a great microcosm of the record.
The final of the three tunes in the suite is one of the most complex-sounding on the record (although “Mutter Mutter Mutter” objectively has more going on), due to the almost-mathy patterning of the guitar and percussion rhythms. Rodgers’ vocals shine here, as he uses vocal percussion, soaring wordless arias, and lead vocals here. The song rolls, starts, stops, starts again, adds in instruments, drops out instruments, and generally never lets you walk in a straight line for four and a half minutes. It’s expertly crafted, and, again, a microcosm of the record.
I could keep going, but this is already one of my longest reviews of the year. All A Shimmeris a beautiful album that enthusiastically and successfully pushes the boundaries of what pop music can do. Rodgers shows off an incredibly unique songwriting voice, a deft arranging hand, and expert engineering skills. It was an easy choice to include in my albums of the year. If you’re into adventurous music, there was no more an adventurous album this year than this one. Highly recommended.
1. “These Bells Will Ring” – Bitter’s Kiss (feat. Blue Stone). It’s ostensibly a Christmas song, but the melody has an anthemic power that transcends the holiday. In this time of division throughout the world, a well-written and well-arranged plea for peace and unity is deeply appreciated. Mad props.
2. “Alibi” – Rich Stevenson. Enthusiastic, even jubilant, major-key folk with flashes of The Tallest Man on Earth, Guster, and more coming together for an infectious mood and sound.
3. “Minute Steak” – Trookers. Pretty sure no one’s ever titled a song “Minute Steak” before. Shades of Frightened Rabbit and Elbow color this precise-yet-full-throated indie/folk mashup.
4. “Came Down From the Mountain” – Matt Townsend. A full, thick folk arrangement provides the backdrop for Townsend’s high vocals, which swoop and sing with confidence. The vibe is “let’s sit around the fireplace while snow falls outside.”
5. “Hold Me” – Tors. Soaring falsetto, tight harmonies, intimate production, and delicate guitar work–what else are you looking for?
6. “Walk Away” – Lowlight Gathering. Anyone who starts out with a cappella harmonies has a lot of confidence in their vocal chops. And it pays off, as this dreamy, fluid folk song is focused on the big, thick harmonies.
7. “T.B.D.” – Hanging Valleys. This acoustic-fronted indie song is deeply moving. It sounds almost as if Bon Iver got anthemic, or if the Fleet Foxes got a bit more electronic/atmospheric. Either way, it’s lovely.
8. “Where Is Your Heart?” – The Fair Wells. High-drama folk that combines the romanticism of male/female duo folk with the emotional punch of old-timey banjo picking. It’s that happy sort of sadness. (In other words, the “sad/beautiful music” Batman signal is on.)
9. “Hold On” – Little Quirks. An all-female alt-folk trio that’s heavy on thumping percussion, pounding piano, and powerful vocals.
10. “Doing Something Right” – TAMMY. Walking-speed vintage country, complete with lazy harmonies, thrumming stand-up bass, and slo-mo drums. TAMMY’s voice is lithe, smooth, and fits perfectly.
With an honours degree in classical guitar, it is not difficult to hear the talent of Sydney, Australia’s Cameron James Henderson. “This definitely influences my composition,” he says. Influenced by the obvious–Bob Dylan and Tom Waits–it is refreshing to hear echoes of Jim Campilongo, Blake Mills, Ry Cooder, and Marc Ribot coming from his guitar. There is also a vibe that comes from down under. “Definitely John Butler and Ash Grunwald were guys I looked up to heaps during high school. Saw both of them a bunch of times etc and played their songs,” says Henderson.
The twelve-song Storm Rollin’ Inis a treat for blues-folk fans worldwide. The laid back shuffle of opener “Storm Blues” feels like the salt air and beaches of Sydney. Simple, elegant storytelling follows with “Across the Water,” whose guitar work shines. “Lifeboat” features satisfying slide guitar work, while classic guitar riffs blend Stevie Ray Vaughn and John Butler Trio beautifully. The metaphor-filled “Refugee” is a bit of brilliance. Channeling Bob Dylan in vocal style, the song is a powerful testament to humanity’s weaknesses. The mix is stellar, allowing the song to breathe out the message freely.
“No One’s Here/Cares” has a Ray Wylie Hubbard vibe, throwing down a groove that rocks. Sprinkled with harmonica and songwriting nimbly mirroring songwriter Chris Gillespie (AU), this song is an incredibly fun romp. Sequencing on this album works together to create an experience; without “Stand Amazed” (the intro), “Floating” would lose the power of imagery. Stark and haunting acoustic guitarwork slides into the song gracefully. Vocals are layered in with classical guitar composition–simply beautiful musically and lyrically. “Wisest Man” is a shout in the dark, back in the folk singer-songwriter style with an essence of The Milk Carton Kids.
Things shift adeptly to “Old Man Stomp,” then abruptly jump to “Shelter,” as if one could not be there without the other. B.B. King makes his voice heard, here. There is a familiarity with the easy rolling songwriting, hearkening back to the beginning tracks of Storm Rollin’ In. “She’s Not There” brings in what sounds to be the ocean, a continuous pull of life that gives a fluid foundation to the pain of love. “Don’t Go Drifting” closes out the album in style. Soaring, J.J. Cale-style electric guitar and vocal phrasing give an extra punch to the message of the song. This follow-up to Cameron James Henderson’s 2014 debut album is a step up in songwriting dexterity and composition, showing a new depth in vocal delivery. Get yours at www.cameronjameshenderson.com/. —Lisa Whealy
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.