My favorite genres are acoustic folk, indie-pop, and indie-pop-rock, so it makes perfect sense that a North Elementary / Jesse Marchant / Bishop Allen show was my favorite I’ve been to all summer. The three bands converged on Carrboro’s Local 506 for a Sunday night show that didn’t disappoint those who stayed up late the night before the local university started back to school.
I caught about half of the set from local indie-pop-rockers’ North Elementary. I would have caught more of it, but I never expect any venue to start on time. (Props to Local 506 for starting at 9 when the poster said 9.) Their enthusiastic, noisy, occasionally jubilant rock was fun to hear; closer “Hi-Lo” was especially smile-inducing. The guitars were noisy but not overly heavy; there’s a lot of levity in their tunes. As a bassist, I particularly enjoyed the great low end lines laid down by Jimmy Thompson.
After knocking some of the rust off my concert-lacking ear drums with North Elementary, Jesse Marchant, also known as JBM, soothed my ears. Marchant’s calm, relaxing solo set was an astonishing success, especially considering that he was sandwiched between two loud bands. (He’s on tour with Bishop Allen right now, which I think is cool: I’m a big fan of cross-genre tours.) Marchant’s songs feature the delicate intimacy of Gregory Allen Isakov’s work, but also have a deep grasp of space and mood that reminds me of Jason Molina’s work. Those two songwriters are some of my favorite in my 13-year music-reviewing career; Marchant’s sound was on par with theirs.
His melodic skill, songwriting maturity, and instrumental dexterity are all sky high. Some quiet bands don’t know how to keep attention; Marchant kept me riveted to everything that he played. His new album comes out soon, and I’m very excited for it: his set was one of the most enjoyable I’ve seen all year. If you like quiet, emotional songwriters that can keep you hanging on every note, you need to know JBM (the name his old work is under)/ Jesse Marchant (which the new album will be under).
You’d think it would be hard to top that sort of set, but Bishop Allen is a special band to me. I don’t often indulge in personal backstory for reviews, but BA requires it. Seven years ago, I was an undergraduate at the University of Oklahoma, doing my best to try to figure out my place in the world. I had a best friend, a mentor, a boatload of acquaintances, and a never-ending stream of girls I liked but never managed to date. My best friend was in pretty much the same boat. In the midst of this very normal college experience, he and I went to Guestroom Records in Norman, Oklahoma to get something to listen to. We didn’t have anything in mind.
After scouting through the store, I found Bishop Allen’s The Broken String. I know I liked the cover; this may have been the only reason I bought the album. (Maybe Paste had put Bishop Allen in a sampler; RIP, Paste printed edition.) We bought it, put it in my SUV, and started driving around the city to listen to it. It was amazing. (It is still amazing.) We did this several more times throughout that year, chasing the ennui away with “The News From Your Bed” and “Like Castanets.” It is a major touchstone in my life.
We were obsessive liner notes readers–me because of The Mountain Goats. We discovered during our first listen to the album that The Broken String had been recorded in Norman, OK–the very town we were living in. This odd coincidence was enough to cement my already burgeoning fanboyship into a full-blown crush on the album. I enjoy the rest of the Bishop Allen catalog (especially the tune titled “Oklahoma,” for obvious reasons), but The Broken String will always be where it’s at for me.
Fast forward to now: Bishop Allen is back with a new album after five years off. Lights Out is a real fun record that I’ll be reviewing soon. Even though I couldn’t get a review done by the time the show rolled around, I wanted to go hear them perform live. Maybe they’d play one or two Broken String songs. I was thrilled by the end of the set: they played almost half the record (5 of 12 songs). So everything you read from this point on is going to be colored by the fact that I heard almost half of one of the more important albums in my life played. They could have played in pitch darkness and I would have been thrilled.
It was a thrill for hardcore fans of Bishop Allen, but I think it would have been a great time for new fans too. BA’s lyrics are often wry and funny, which was reflected in vocalist/guitarist/songwriter Justin Rice’s stage banter. The band ripped through traditionally quieter tunes with extra noise and energy, which made “Rain” in particular into a mini-anthem. With those slight updates to the older material, their new songs fit pretty seamlessly into their live show. The highlight of their new material was the funky, dance-oriented “Breadcrumbs,” which was a lot of fun to dance along to. I and several others were getting into it, dancing-wise. It was a blast–chipper music, fun stage banter, dancing, and singing along to my favorite songs. How can you ask for more?
Bishop Allen’s Lights Out is out now, while Jesse Marchant’s self-titled new album comes out September 9. North Elementary’s Honcho Poncho was released earlier this year.
I’ve been getting so much good acoustic music lately that I’ve been pulling back from reviewing albums of anything else. (I still cover everything in the MP3 and video drops, don’t worry!) But Inner Outlaw’s I/O is so immediately attention-grabbing that I had to review it.
I/O is rock without garage rock trappings: even at their noisiest, the sounds here are slinky, smooth and polished. Inner Outlaws has the art of cool down pat, whether it’s the dusky back alley of “Easy Life,” the punchy guitar and low-slung rhythm section of opener “Rich City,” or the acoustic-led folk/psych of the twilit “Dead Man’s Game.” The band knows how to make sounds live between vaguely optimistic and outright dark; I/O mines the spaces inbetween, whether they be eerie, dangerous, intriguing or comforting (“Rich City Two”). “Cloak of Lichen” is all of those at once, even. It’s a very cohesive album, which is rare these days. I/O showcases a particular mood from a variety of angles, like a diamond with its many facets.
Inner Outlaws took the best parts of classic rock and updated them with indie-rock cool. If you’re into anything from Fleetwood Mac to The Strokes to Bloc Party to Grizzly Bear, you’ll find things to enjoy in I/O. This album shows off a band with talent and vision; it’s also a ton of fun. Can’t ask for much more.
Justin Klump‘s three-song release The Night Is Young delivers fresh-faced folk-pop with a strong ear for gentle arrangement. Instead of taking the Mumford-esque “shout it out” method, Klump finds kindred spirits in early work by both The New Amsterdams and Joshua Radin: strong melodies that work their way into your heart by charm, not by force.
The title track does eventually get a bass drum thumping as a pulse, but it’s not invasive; it feels like a heartbeat that the accordion, cello and guitar play over. I was reminded also of a less frantic Twin Forks in the interplay between the woah-ohs and the instrumental arrangement. “Slow Life Down” and “Pictures and Stains” both lean on tender, romantic emotions; they’re lovely as a result. Klump knows how to use his voice to best effect, and he frames his vocal melodies beautifully with the trappings you’d expect: banjo, glockenspiel, reverb-heavy piano. It doesn’t have to be groundbreaking to be excellent; Klump is working within a framework and doing a great job of it.
I love it when I find calm, beautiful, well-arranged work. If you’re into the sound of earnest, tender folk-pop or the moods and lyrics of adult alternative pop, you’ll find much to love in Justin Klump’s The Night Is Young.
1. “Whodunit?” – Gentle Robot. GR’s new album of indie-friendly alt-rock a la Silversun Pickups or Anberlin is a whodunit murder mystery. Gentle Robot deftly balances tenderness and aggression via strong lyrical and musical songwriting. Clever, memorable, and novel.
2. “Say Yes” – Afternoons. If you can resist belting out that chorus at the top of your lungs, this blog cannot help you. I’m serious.
3. “Gloria” – Backwords. Item Two: If you can stop yourself from belting out “I NEED GLOOOOOOORIA,” this is probably not the blog for you. Excellent song development from this crew.
4. “Love the Sea” – The Vigilance Committee. Grows from dreamy beginnings all the way to a rhythmically technical post-hardcore section, with some punk-inspired motion in the middle. I love ambitious songwriters.
5. “Midnight:Sixteen” – Tree Dwellers. TD has some weird post-rock/alt-rock/found-sound thing going on here. It’s the soundtrack to a really ominous “getting ready” sequence in a artsy futuristic dystopian action film.
6. “You Come to Kill Me?” – Happyness. Two minutes of pure slacker rock with impressive attention to lyrical detail. It doesn’t get repetitive, it doesn’t ask for much, it just wants to know if you’re there to kill him. Solid, bro.
7. “Monuments” – Haverford. My current favorite emo band mixes vocal desperation, dreamy guitars, and punk intensity for a swirling, whirling track. This release should get Haverford noticed by emo revivalists and more.
8. “Escape” – Dream Boat. The intensity of the forward motion that pushes through this psychedelic track makes it more than just a woozy psych jam or a four-on-the-floor stomper. Heavy vibes here, but good ones.
9. “Love Again” – JOA. Yearning, churning, moody indie-pop from the artist formerly known as Like Clockwork; much more atmospheric than the brash pop music he was previously producing. It’s got some down-tempo groove to it, too.
11. “January” – Silva. The breeziness of chillwave meets the celebratory vibes of Brazilian music in a fun, charming, beautiful track.
12. “Lovekill” – Anie. Opens with an asymmetric vocal line reminiscent of tUnE-yArDs before exploding into a pop-rock tune with high male vocals; it shifts back and forth from artsy to poppy throughout the track. Really interesting take here.
13. “Oh the Evil!!!” – Michael Leonard Witham. A Dylanesque yawp, pedal steel, brazen harmonica, and a perky overall mood? Yes. Let’s have some more of that.
14. “Shapeshifting” – Sam Joole. This warm, gentle, pristine arrangement that recalls William Fitzsimmons or early Joshua Radin feels lush and full, even though it’s rather stark. Wonderful track.
The two extremes of specialization and increasing generalization are always at work. Muse is all-inclusive of sounds; hypnagogic pop is exclusive of all but a particular subset of sounds. These elements will always exist in the pop music world. Stolen Silver‘s We Have Everything, We Have Nothing trends toward the all-inclusive side of things: although an acoustic guitar anchors almost all their songs, they span the range from modern folk (“A River Only Borrows”) to adult alternative pop (“Prefontaine”) to NeedToBreathe-style Southern-pop-rock (“Blue”) to upbeat indie-folk-pop (“Carbon Copy”). Stolen Silver can do a lot of different things, and it can do many of them well.
If you’re going to go chameleon on your listeners, you need to have a strong vocalist and a versatile band. Stolen Silver has both, as the evocative tenor is comfortable with all sorts of rhythms and melodies. There’s an available falsetto, as well as a strong range before the head voice. The vocals fit neatly into the diverse song structures, because the band gives excellent songs to put vocals on top of. The band is strong in creating moods, which helps when there’s a variety of styles conveyed. I believe the airtight, pop-friendly arrangement of “Prefontaine” as much as the quieter alt-country arrangement of “Come Back to Chicago,” and that’s a testament to the band’s strength of songwriting.
If you’re interested in a diverse set of acoustic-based sounds that trend toward Matt Nathanson/David Gray acoustic pop, you’ll really enjoy Stolen Silver’s We Have Everything, We Have Nothing.
I didn’t do much for Independent Clauses’ 11th birthday, especially after having such a huge 10th birthday event with the Never Give Up covers project. (I needed a rest!) But now I’ve got something way cool to share with you that I can call our belated birthday gift to you.
Raleigh Little Theatre, Raleigh Brewing, and Independent Clauses are teaming up to host a Hopscotch Music Festival day show 12:30-6:30 p.m., Friday, September 5. I am absolutely stoked. If you’re in the Triangle, you should come hang out with us. We’ll have a poster soon, along with more details as they come available. I’ll keep updating this page.
There’s a press release and everything:
Local theatre, brewery, and blogger unite for local showcase
RALEIGH—Triangle bands Bridges, Drift Wood Miracle, and The Morning Brigade will be among the six bands that Triangle performing arts staple Raleigh Little Theatre will host during the Indie Carolina Hopscotch Day Show, 12:30-6:30 p.m. on Friday, September 5. Admission is free and open to the public.
The showcase is presented by Raleigh Brewing Company and Independent Clauses music blog. Raleigh Brewing Company will be on hand to pour their beers, while Independent Clauses author Stephen Carradini curated the bands that will play. Carradini will also be the master of ceremonies.
Folk artist Cancellieri, of South Carolina’s Post-Echo Records, and Raleigh folk act Grandiflora will also play. A final special guest is yet to be announced.
“Independent Clauses covers a wide range of sounds, so I’m pleased that we’ll have folk, indie-rock, and punk bands on the stage that day,” said Carradini. IndependentClauses.com features musicians and bands that are early in their careers, particularly ones with little to no press. Started in 2003 with a focus on then-local Oklahoma musicians, the blog has expanded to be national and international in scope without losing sight of the goal: covering early-career musicians.
RLT’s Stephenson Amphitheater will host the event, allowing music lovers to bask in the (hopefully) autumn weather and relax. Bring your own blankets and picnic, but not your own booze; the seating is open, but outside beverages are not permitted. Gussy’s Greek Food Truck will be parked outside the amphitheater as well.
LINEUP 12:30 Grandiflora (Raleigh)
Imagine if Bon Iver or Fleet Foxes featured a baritone vocalist.
1:30 Cancellieri (Columbia, SC)
Gentle folk fingerpicking with smooth tenor vocals: let it transport you.
2:30 The Morning Brigade (Chapel Hill)
Swirling, mysterious, full-band folk with male and female vocals.
3:30 Drift Wood Miracle (Durham)
Melodic, noisy punk/indie right in time for the emo revival.
4:30 Bridges (Raleigh)
Dreamy, shadowy indie rock with a bit of an electronic vibe.
Usually it’s hard to find videos I like, but four of them hit me recently. Bottoms up!
Bishop Allen asks a bunch of people to hula hoop and then plays it back in slow motion. Is there any better metaphor for Bishop Allen’s quirky, understated, joyful pop?
Reighnbeau’s “Milk of Amnesia” is a glitchy, meandering chillwave-inspired tune with breathy vocals. The video is the exact opposite: crisp, tight visuals that tell a striking story. Gorgeous video here.
Tim Fitz pushes a shopping cart full of free lemons around Sydney, Australia. The reactions of passersby is really funny.
It looks like nothing is happening in this Castanets clip, but give the beautiful track your attention. Wait. Pace. Enjoy.
I just finished reading The Night Circus, which is a tale of magic and circus set in Victorian England. The best part of the novel is the perfect mood it captures, with curiosity being the only guide in a world that fluctuates between joy, terror, and confusion. Curtis Eller’s American Circus‘s How to Make It In Hollywood draws off that same time period for musical, lyrical and visual inspiration, resulting in an album that is as mysterious, dirty, magical, scruffy, distinctive, oft foreboding, and occasionally whimsical as the circus itself.
Eller plays the banjo, and so the songs all have a plucky, jaunty feel that only a banjo can give. On top of that base, there’s everything from mournful ballads to proto-rock’n’roll jaunts to old-timey folk tunes to things that sound like they fell right off the back of a circus. The sense of theatricality that is so prevalent in the circus holds together songs as disparate as the New Orleans-esque “Butcherman” and the forlorn “Three More Minutes with Elvis”; the impressive arrangements make both of those tunes sound excellent. The ominous backwater stomp of “The Heart That Forgave Richard Nixon” is wholly different again; it’s just as impressive musically.
Eller isn’t a chameleon so much as he is an expert storyteller, matching moods and lyrics impeccably. If “Busby Berkeley Funeral” needs to sound like a jubilation after a slight into pondering death, the music can fit that. Eller’s strong voice is the guide through this wildly diverse album, the ringmaster in a circus of sounds that are here one minute and gone the next. Whether it’s 1950s pop or 1850s folk lament, Eller knows how to fit it into the amalgam. If you’re interested in upbeat folk like Jonas Friddle’s, or theatrical work like The Decemberists (but way more fun than they ever were), you’ll be thrilled to hear Curtis Eller’s How to Make It In Hollywood.
I’m familiar with Paul J. Phillips‘ folky persona, so the assured rock vibe that bursts out of the five-song release Magic surprised me. From the get-go on “Time, Time,” he hits the listener with fuzzy guitar, thick bass, Motown horns, and tons of strut and swagger. His voice is right at home in the mix, swooning and swaying with the right mix of raucous energy and smoothness. I haven’t seen Get On Up yet, but…
The title track and “Da Blues” are a little more country-fied, calling to mind CCR and what might forever be known as That Song From the Guardians of the Galaxy Trailer (“Spirit in the Sky” by Norman Greenbaum). Jaunty piano, perky shakers, and well-placed strings give the former a classic, upbeat vibe that makes it a standout. “Fly Boy” moves more toward the Motown vibe, almost getting into soul territory. Phillips wraps things up with the appropriately titled “Till It’s Gone,” which pours the soul vocals into a wurly-heavy pop framework. Magic is a strong five-song outing that shows a fresh side of Phillips. The songs here are fun, but they’re also really tightly constructed. Phillips’ songwriting here is solid, and the vibes are good; I look forward to seeing what comes of this release.
I love punk, artsy electronica, even some post-hardcore now and then. But I’m always going to come back to the pristine simplicity of a solo voice over fingerpicked acoustic guitar. Cancellieri, hot on the heels of his excellent LP Welcome to Mount Pleasant, has given the world a whole album’s worth of gorgeous voice-and-guitar tracks. Winning my heart even more, eight of these fourteen tracks are covers. Closet Songs is wholly wonderful.
Ryan Cancellieri has a lot of things going for him on Closet Songs: he chooses covers excellently, he performs covers memorably, and writes songs of his own that stand up to the company of their peers. Let’s take these things in turn.
Closet Songs is put together like a good mixtape: some songs you absolutely don’t know, some you might know, a few you definitely know, at least one curveball to keep ‘em guessing. I hadn’t heard “I Love You But Goodbye” by Langhorne Slim or “Mama’s Eyes” by Justin Townes Earle, although I respect both of those guys as songwriters. The songs are great, and I thank Cancellieri for letting me know about them. You may have heard “Bella Donna” or “Famous Flower of Manhattan” if you’re more of a Avett Brothers fan than me. You’ve most likely heard “Green Eyes” by Coldplay and “Murder in the City” by the Avetts. Curveball? “Dreams Be Dreams” by Jack Johnson. (Whoa bro.) The best part about all of these is that they’re not just great songs, they’re great songs for Cancellieri.
One of the problems that people who choose covers run into is that they like songs that they can’t possibly perform, vocally or musically. That is not the case here, as Cancellieri adapts the songs to fit his range comfortably. These all sound very easy and fun for him; they’re pleasing to the ear and soul for that element. (Nothing worse to me than someone who sounds like they’re having no fun trying to cover something.) His version of “Mama’s Eyes” definitely retains elements of Earle’s delivery, but it feels real and true in Cancellieri’s voice. That’s the mark of a strong cover. He doesn’t try to copy the original; he tries to be faithful to it while making it his own. It’s a rare skill, and Cancellieri shows he has it.
Another problem of covers is that sometimes a cover is the best thing in a set. (Uh-oh.) This happens because, well, you’re covering an elite talent, and sometimes you aren’t that. However, Cancellieri is an elite talent, and his songs stack well against his covers. “Fortunate Peace” and “Zalo” had me checking to see who wrote them, because they’re just brilliant songs. Cancellieri carries his songwriting voice with the gravitas of someone who knows what they’re doing. This doesn’t mean that he’s brash and bold; these songs are humble, even sad in spots. But Cancellieri sounds fully in control of the guitar, his vocal range, and lyrics on these tunes, which is not something that can be said of many singer/songwriters. You want to test it? You can press play on the first track of the soundcloud and then go to a different tab. Try to guess which are his and which aren’t. You’ll be impressed.
Cancellieri’s Closet Songs is a beautiful, poised, mature offering. It plays like a good mixtape, and it sounds like a great album. This is one of my favorite singer/songwriter releases of the year so far. (With apologies to his own previous full-length!) You very much need to check out Closet Songs if you’re a fan of fingerpicking-heavy singer/songwriters like Justin Townes Earle and The Tallest Man on Earth. (Also Joe Pug, but not because of the fingerpicking.)
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.