Independent Clauses | n. —unusual words about underappreciated music

MP3 Mix: Till You’ve Got Nothin’ Left

February 10, 2015

Till You’ve Got Nothin’ Left: Indie Rock

1. “Just Like Moonlight” – Inner Outlaws. Mad respect for any band that puts the bassist at the forefront of the tune. Michael Cacciatore’s lumbering low-end powers this wide-open indie-rock soundtrack to the city at night, which is a deft mix between sparse environments and blown-out arrangements.

2. “The Devil” – Michael Feuerstack. There’s a certain amount of guts it takes to tell the bassist to play straight eighth notes for an entire song, as it naturally turns the song into a highway jam. Feuerstack’s road anthem is perhaps a demolition derby jam–an indie-rock song amped way up, reminiscent of the roiling, raging loudest moments of the Mountain Goats.

3. “A Little Ditty” – Sleaford Mods. There’s nothing quite like UK blue-collar rage taken out in spoken-word fury over a chugging post-punk backbeat. It feels timeless and fresh at the same time.

4. “Stationary Life” – Blis. Twinkly emo, yelpy vocals, references to parents’ house, underlying good-natured energy/aggression: Deep Elm would have been all over Blis. a decade ago.

5. “Dead or Alone” – Lull. “How loud can we play something and still make it sound sad?” “I don’t know, man. Let’s start from the noisiest and get quieter till we’re there.” In other words, shoegaze, indie-rock and emo revival all smashed together into mopey, angsty goodness.

6. “Heavenstay” – Shana Falana. Reverb-drenched, guitar-sculpted dream-pop reminiscent of School of Seven Bells, Ponychase, or other artists who try to engulf people in the sound of dreams.

7. “Open Water” – Lade. Trip-hop and The Verve-style Brit-pop collide in a twilight mix.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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