1. “Computer Games” – Greta Jaime. Bass heavy. Metaphorically relevant. Swooning vocals. “Computer Games” by British up-and-comer Greta Jaime is layered with pops and cracks that belie a much lighter track than what the lyrics imply. She’s not afraid to stand alone from the instrumentals as “Computer Games” patiently builds itself up from the thumping back beats to a swirling collection of digitally driven cacophony. She’s an artist who is in total control of every sound and emotion. From the lyrical prowess to the aptly subtle guitar riffs that add to the ambivalent tone, Jaime’s strength lies in her courage and already legendary vocal range. Having caught the attention of the Glastonbury Festival’s Emerging Artist Competition, Jaime is undoubtedly on a fast-track to impressively high levels of success. –Maria Edwards
2. “The Highway State” – The Bowling Alley Sound. This post-rock outfit likes to bend the expectations of the genre–this is a major key piece, but not the surging crescendo of a Lights and Motion piece. This is cinematic, but more Wes Anderson than sweeping landscape. This has a lot of dynamic motion, but this is not a on/off/on roarer. Instead, this is a carefully crafted, beautifully executed, compositionally unique piece that includes a long spoken word section, interesting violin work, and strong trumpet use. There’s also guitars for those whom guitars in post rock is a mandatory–but they’re more like folk than like GYBE. So, overall–this is vastly impressive and interesting.
3. “On and On” – Manatree. This power-pop song rumbles forward with a passionate joie de vivre that is tempered only by the slowly-unfolding vocals (and even that isn’t too much tempering). There’s half a dozen moments in the tune that made my eyebrows raise expectantly, and a couple moments gave me shivers. I’ve got my head bobbing at my desk enthusiastically. These dudes should definitely go on tour with Brother Moses. If you like indie-pop, you need to listen to this one.
4. “Take the Doggie” – Shy Boys. It only takes 96 seconds for me to fall in love with this quirky power-pop/indie-pop tune that’s sung directly to a stray dog. Everything seems to be zooming in all sorts of directions and then it’s over, just in time to press replay. And the video has a bunch of dogs in it. Who can resist?
5. “So We Go” – Cable Street Collective. Excellent female vocals, reggaeton rhythms, hand percussion, and Caribbean vibes power this jubilant indie-pop track. There’s a hint of Vampire Weekend in there, but comparing Cable Street Collective to other bands sells them short. It seems impossible to not have fun while listening to this tune.
6. “Burning Bridges” – The Wandering Hearts. A lovely, lilting folk tune with thick harmonies, subtle percussion, perky bass, and comforting melodies. The smash-cut to the bass-heavy piano and female vocal solo in the bridge is particularly striking.
7. “California” – Mountain Lions. Can you write a song called “California” and not have someone mention Phantom Planet? Anyway, this acoustic indie-pop song is more chipper than the iconic indie serenade of the state, but it’s just as indie-charming. The acoustic arrangement is effervescent without being saccharine, and the melodies are as singable as you’d hope for such a big topic. There’s a touch of M. Ward here and there, some power-pop knowledge sprinkled on it, and the whole thing is wrapped up in a lovely production job. Just a winner, through and through.
8. “For U” – Uma E. Fernqvist. This is how you take trip-hop and move it forward without recreating Portishead. There’s a lot of the things you’d expect from trip-hop: dusky moods, icy tones, stark arrangements, staccato drums, and the like. But there’s also a continuity, an underpinning of a consistent beat drawn more from techno than from trip-hop, that gives this tune some contrast to the trip-hop base. It’s a fascinating, compelling mash-up. It’s also over eight minutes long, another nod to its electronic roots.
9. “Fire B” – Elephant Micah. Elephant Micah has a discography full of slowcore folk musings, and I like those recordings a lot. But, as I have coincidentally done, Elephant Micah suddenly got interested in electronic music. But, because Joe O’Connell loves minimalism, this is real minimal electronic music–sounds from a single synth wash over your ears, sometimes accompanied by another synth, but often not. After about 2.5 minutes of experiments like that, O’Connell bursts into a … cover of his own work? A riff on his own work? It’s not quite “If I Were a Surfer,” but it uses the same melodic and lyrical concepts. There are lots of clanks and bonks and bass whomps to go along with it. It’s a wild thing, regardless of whether you’ve heard Elephant Micah before.
10. “Run Away” – I Am Soyuz. An intimate acoustic tune that evokes the feel of everyone together in a small room making music together. The lead female vocalist has an intriguing, engaging voice and strong melodies to boot. The arrangement is subtle but well-turned–there’s interest for those looking for it. The whole thing comes off like a deconstructed folk-pop tune, sort of somewhere between Dana Sipos’ dreaminess and stomp’n’holler folk.