1. “Glue” – Bugs. We’re not to the summer yet (unless you live in Arizona), but here’s an early vote for you Summer Jam lists. There’s some early ’00s indie-rock guitars going on (back when major key versions of grunge guitar patterns was the hot thing), some attitude-filled vocals that nod to pop-punk ideals (but not too much), and fantastic background vocals that really make the song. Fans of Brand New’s first record or bands like The Fratellis will be real into this.
2. “Starcrossed Lovers” – The Fratellis. Speaking of: Oh hey, The Fratellis! It’s good to hear from you again. This one has a little more emotional weight than the never-going-to-retire-that-one-live hit of “Chelsea Dagger” and less frantic antics than “Flathead,” but it has way better falsetto in the chorus and boasts a neat strings section in the chorus. Some people just know how to write pop songs, you know?
3. “Other People’s Houses” – American Film History. There’s a fair bit of ’80s nostalgia that I just don’t subscribe to–I was never into giant synth soundscapes, and most new wave doesn’t give me that happy kitsch feeling. So it’s with surprise that American Film History’s updated version of ’80s pop strikes a chord with me. Sure, there’s a lot more emotional depth than most ’80s music, but that alone isn’t it–there’s some excellent melodies, some strong arranging, and just all-around good vibes. Also, I feel no shame spoiling this for you: the video is horribly sad and made me sad. Go with that knowledge.
4. “Foundations” – Pilod. Slowcore acoustic music is a genre that I leave and return to repeatedly: there’s something entrancing about the angst-laden, repetitious minimalism. Sometimes it just feels right. Pilod’s “Foundations” isn’t quite as long or as slow as some of the slowcore you can find, but the long pauses between guitar strums, simple rhythms, and emotional vocal delivery all resonate with my expectations of the genre. There’s a little more electric guitar than you would otherwise expect, but the song lopes its way to a totally great emotional climax (as one would expect). Fans of Songs:Ohia and the like will be into this.
5. “hey (pixies)” – lost valley. I don’t often mention covers on IC, because it has to be 1. a good song 2. re-envisioned in a unique way for me to get on board. Usually covers fail one or the other requirement, but lost valley’s trip-hop-influenced post-dub take on a Pixies tune is a mindbendingly good time. There are flashes of Odesza’s melodic elements, but the tune is mostly stacatto and choppy, hopping from one idea to the next. Very intriguing.
6. “Long Way Home” – YESES. This tune has some definite War on Drugs-esque psych influences, but they are tempered with a liberal dose of Interpol-esque post-punk rhythms, rhythm guitar tone, and dour vocals. Those two poles push and tug on the song from multiple angles, creating productive tension that elevates this above the pack of a very trendy genre right now. (Being above the pack in anything is great, but being above the pack in a “very right now” genre is super-great.)
7. “Angry Seeds” – Narwhals. If you split the difference between the manic indie rock enthusiasms of Frightened Rabbit and the sensible, down-to-earth vocals and arrangements of The National, you might end up somewhere near where Narwhals did on this track. It’s huge that this song doesn’t ape either band, but creates something new and interesting out of the influences.
8. “Happiness” – Callum Pitt. This has a very cheerful acoustic folk/pop chassis with a big, enthusiastic indie-pop body on it–I’m reminded of Soft Bulletin-era Flaming Lips, Dale Earnhardt Jr. Jr., and mid -’00s indie-pop bands like Annuals. Very fun.
9. “She Waits” – The Gray Havens. tGH has grown from a perky piano-pop duo to something much more vast. This particular track shows off a newfound patience in arrangement–layers of piano and strings slowly accrete in a pattern that echoes the emotions of the titular chorus phrase. Dave Radford’s vocals are some of the most confident that he has delivered, and the song itself is something unique and passionate. This is deeply impressive, highly mature songwriting. If you’re into Viva La Vida-era Coldplay, your eyes will get wide.
10. “Tour Guide” – Cheri Magill. Magill’s website says “music for moms” on it, but it could also say “music for parents” or “music for people who know kids” or “music for people.” This piano-pop tune is starkly beautiful, mostly eschewing percussion in favor of the piano’s own rhythm. Magill’s vocals are strong and clear, just as the strings are. Fans of female-fronted piano work will enjoy this quite a bit. The song is the title track on an album all about parenting, which should come with a different sort of parental guide on it–namely “if you are a parent, you will probably cry while listening to this album.”