The outfit can play the pop game with great aplomb, as the hooky riffs and consistent kick drum of standout single “Number One” and “The Winning Side” attest. However, they can also get down into some dirty, dirty blues riffs (“Two Guns,” “Keys to the Kingdom”) and low-slung, gritty rock (“Blacked Out Windows”). When they bring their pop chops to bear on those muddy, murky influences, things get seriously interesting: the title track grooves hard but also has that warm glow throughout which keeps things in the pop realm.
It’s tough to keep things in the “top down, wind-in-my-hair” mode when the lyrics are so seething with bitterness towards ruined economies at the hands of the rich & powerful, but they manage the balance. From the down-and-out vignettes of opener “Number One” to the religious imagery of “Let the Love Go Down” to the apocalyptic sketch of acoustic closer “Plow Song,” every song is an economic protest in one way or another. (I don’t usually put a lot of stock in album titles, but this one is perfectly named.) If you wish that The Black Keys had gotten grittier instead of going stadium-rock on us, The Sideshow Tragedy will perk you up. If you’re into protest music that can get your adrenaline pumping, you’ll be all over this, too.
Second-wave/late ’90s-early ’00s emo can occasionally (rightly) be associated with uncharitable, uninviting navel-gazing, but Football, Etc.‘s Disappear EP transcends the worst of the stigma by keeping a dreamy pop sensibility firmly in view.
The four-song set shows off the hallmarks of the genre–gauzy guitars, twinkly melodies, drums reminiscent of punk, tidy arrangements, small number of musicians–without lapsing into homage or parody. The fact that you can hum along with “Sunday” points to an important aspect of their pop-music ethos; the fact that the EP opens with Lindsay Minton’s voice on “Sunday” points even more strongly in that direction.
Yes, there are some chilled-out tunes that focus more squarely on the lyrics, which some may not like. But the melodies and the mood make it very worth it for me. If you’re into dream-pop or the emo revival, sign up with Football, Etc.
Laura Joy‘s Between Our Words is a light, airy, sun-dappled collection of acoustic songs. Joy takes a singer/songwriter’s introspective approach to lyrics, but the bouncy bass of “Takes a While” and cheery organ of “Phoenix” keep things from feeling too cloistered. Those two songs in particular should be played outside on a walk in the park during a mid-’70s cloudless day. “Courting Disaster” is an acoustic pop tune that is potentially the perkiest cut ever to have “disaster” in the title.
Joy’s unaffected, straightforward voice helps create the unassuming air as well: throughout the five songs, Joy sounds down-to-earth and approachable due to a pleasant eschewing of vocal theatrics. Even when things do get a little more dramatic in the fingerpicked title track and troubadour-esque “Moving On,” Joy still situates herself in vocal and instrumental arrangements that don’t go for huge sweeps and maximum catharsis. Instead, she writes comfortable, relatable, small songs. It’s a refreshing turn to hear things not need to be pushed to their brim. Laura Joy’s Between Our Words is a quiet, light EP that makes an outsized mark for its weight.
1. “Parking Lot Palms” – iji. This tune is a breath of fresh air: a gentle, lightly reverbed road song that fits quietly and warmly into your life. Is it the arrangement? The melody? I don’t know. But I do know that it makes me calmer and happier.
2. “California Song” – Patrick James. James might be from Australia, but he’s got his finger of the pulse of the breezy West Coast. This acoustic-led pop-rock song throws back to the ’70s and ’80s, calling up not just longing for the coast but nostalgia for the past. Doesn’t get much more sentimental than that.
3. “Comeback” – Cherokee Red. Recipe for a great beach song: Mash a surf-pop backline together with smooth, welcoming vocals and burbling melodic elements. Totally chill.
4. “Street Lights” – Mon Sai. A swift piano and cymbal-heavy drum kit create a helter-skelter pop vibe that gives way to a Pet Sounds-esque chorus: in other words, it’s a great pop song.
5. “Mind Your Manors” – The Bandicoots. Perky, summery, head-bobbin’ indie-pop-rock a la Generationals.
6. “Bracelets” – Mini Dresses. Basically a female-fronted, slow-jam version of a Generationals pop song: loping bass line, vintage guitar reverb, tabourine shake here and there. Yes, thank you, I’ll have another, waiter.
7. “Park It” – Karina Denike. Give me that ’50s girl pop (complete with honking saxes), then amp up the attitude in the lead female vocals, and you’ll be near Denike’s creation here.
8. “You Don’t Know Me” – Ghost Lit Kingdom. Everybody needs a shoot-for-the-stars, acoustic-led epic anthem, the type that Arcade Fire don’t make anymore.
9. “Right Talk” – French Cassettes. The ability to emerge from a dense section of noise into a perky, clear melody is a skill that will always be in season, from Paul Simon to The Strokes to Vampire Weekend and the Vaccines. French Cassettes put their skills to good use on this bright, confident guitar-pop track.
10. “A Single Case Study” – Palávér. Some of the most infectious guitarwork I’ve heard in an indie-rock song recently is paired up with low, swooning vocals.t’s kind of like an alternate-future Clap Your Hands Say Yeah.
11. “Wasted Youth” – Friday Night Trend. If you never stopped loving Jimmy Eat World, this track will satiate all your aggressively jangly rock needs. It’s got punk elements throughout it, but there’s no avoiding the Jimmy connection.
12. “Easy” – Readership. Some power-pop is head-down, bash-it-out-and-let’s-go-home rock. Readership is the opposite: wide-open, staring-at-the-clouds style. Big guitar chords, in-your-face vocals, and an overall upbeat atmosphere.
1. “Too Deep in Love” – Kylie Odetta. Post-modern pop that mashes hip-hop and torch song, electro jam and walking-speed diva pop tune. It’s an infectious blend.
2. “Tide Teeth” – Night Beds. So I didn’t expect Night Beds to go all electro-soul on us, but he’s cranking out the sensuous slow jamz here.
3. “Kindred” – Red Cosmos. Smeary synths, staccato percussion, perky treble melodies and dour vocals create a unique space somewhere between dream-pop and downtempo psych-rock.
4. “Khazé” – Mune. That moment where post-punk was turning into new wave (which would soon birth synth-pop) was a hazy phaze where energy and lackadaisical dreaming seemed to coexist. Mune gets that.
5. “Aftergold” – Big Wild. Electro doesn’t always have to feature big, walloping synths: “Aftergold” relies on strings, plunky marimba, uncomplicated beats, and burbling vocals to create an energizing, impressive track.
6. “ Ghost ft. Patrick Baker” – Lane 8. Artsy electro drawing off trance and funk instead of dubstep is a welcome thing in my book. This tune never has a major drop, and that’s 100% cool with me.
7. “Away – Reptile Youth. The Flaming Lips dabble in electronic music, but Reptile Youth puts the creaky, eccentric, cosmic vibes that the lips peddle firmly into the electro milieu. The vocals of the two outfits are particularly similar.
8. “Amalie” – Colornoise. This track has the sort of mystic, atmospheric vibes that Fleetwood Mac was able to conjure up, only with a bit more ominous, gritty vibe on one end and sweeter vocals on the other.
1. “Dark” – Birds of Night. Dark is the massively impressive synthesis of Springsteen’s road-readiness, Arcade Fire’s sweeping drama, and The Walkmen’s trebly guitars and keening vocals. This is an impressive rock tune.
2. “Cooler” – Sancho. Why does some Weezer-esque rock push my emotional buttons and others not? I have no idea. But I heard the guitars, the vocals, and the start-stop moment that clinches the thing in this song, and I just got all mushy inside.
3. “Warrior” – SATE. If this jet-fueled, towering-guitar rocker doesn’t get your blood moving, I don’t know what will. There’s enough soul, sass, and vocal theatrics in this track to power four or five lesser tunes.
4. “Legend” – Parlement. If the sound of summer is a big, fat Queens of the Stone Age guitar riff, Parlement has a song for you. The straightforward, stomping rhythms are about as far from that other Parliament as you can be.
5. “I’m Dying on the Square” – Break the Bans. Thrashy, hoarse-throated protest punk from a Russian national that starts out with spoken words clips (that I can only assume are political/news clips)? This is pretty much what punk is for, y’all.
6. “Modern Phenomenon” – Northern American. Big, comforting synths welded to a downtempo rock song that sounds like it’s been through the Radiohead/The National/Bloc Party school of music.
7. “Optimists” – Mittenfields. Glammy, theatrical vocals can make anything sound more glam than it is–Mittenfields is laying down the rock, though. Check that sweet guitar solo.
8. “Mirror North” – Whoop-szo. Starts out all quiet and ponderous, but it ratchets up to a brittle, abrasive post-metal roar pretty quickly. If you’re into soft/loud/soft, jump on it.
9. “Cowboy Guilt” – Torres. The clear winner of SXSW this year, Torres was unknown to me before the event and absolutely everywhere afterwards. This tune, which deftly balances a minor-key gravitas and quirky melodic capriciousness, shows why she’s the big thing in indie-rock right now.
1. “Winter is for Kierkegaard” – Tyler Lyle. There are few things that get me more than a earnest tenor singing way too many words over a folky arrangement. Lyle plays somewhere between Josh Ritter, The Tallest Man on Earth, and Gregory Alan Isakov.
2. “Resolution” – Young Legs. The world always needs more quirky, delightful indie-pop on a strummed banjo.
3. “The Fall” – Reina del Cid. Warm, fingerpicked acoustic guitar; brushed snare; stand-up bass; contented alto vocals–it sounds like all the bits and bobs of a country song, but del Cid turns it into a charming folky ballad.
4. “Forever for Sure” – Laura & Greg. The gentle, easy-going guitar and male/female vocals create an intimate vibe, while a mournful instrument in the distance creates a sense of spaciousness. The strings glue them together–the whole thing comes off beautifully. I’ve likened them to the Weepies before, but this one also has a Mates of State vibe.
5. “Touch the Ground” – The Chordaes. Dour Brit-pop verses, sky-high falsetto in the sunshiny, hooky chorus–the band’s covering all their bases on the pop spectrum. That chorus is one to hum.
6. “Inside Out” – Avalanche City. My favorite Kiwis return not with an Antlers-esque, downtempo, white-boy-soul song. It’s not exactly the chipper acoustic pop of previous, but it’s still infectiously catchy.
7. “Bad Timing” – The Phatapillars. If Jack Johnson’s muse was outdoor camping and music festivals instead of surfing, he could have ended up like this. For fans of Dispatch and old-school Guster.
8. “Tapes” – The Weather Station. Sometimes trying to describe beauty diminishes it. Let this song just drift you away.
9. “ Forest of Dreams” – Crystal Bright and the Silver Hands. The Decemberists have largely gone standard with their arrangements, but there are still people holding it down for klezmer arrangements of gypsy-influenced melodies mashed up with the occasional operatic vocal performance. It’s like a madcap Beirut or a female-fronted Gogol Bordello.
10. “Heavy Star Movin’ – The Silver Lake Chorus. Written by the Flaming Lips for the choir (which operates in a very Polyphonic Spree-like manner), it’s appropriately cosmic and trippy. Strings accompany, but nothing else–the vocals are the focus here.
11. “Emma Jean” – WolfCryer. Here’s Matt Baumann doing what he’s great at: playing the storytelling troubadour with an acoustic guitar and a world-weary baritone.
Chris Staples’ “Dark Side of the Moon” pairs old clips about the reaction to a space launch with a earnest, plaintively hooky acoustic pop tune. It’s a great tune and a great video.
Stein Sang’s “House of Sticks” video tells the story of a tumultuous (but not totally broken) relationship. The cinematography is great, and the song fits excellently.
Peach Kelli Pop’s clip for “Princess Castle 1987″ sees the female quartet running around a city in full Princess Peach dresses. It is a hilarious and fitting clip for the bubblegum pop garage rock of PKP.
Iron & Wine’s “Everyone’s Summer of ’95” clip features semi-pro wrestling prominently–maybe Sam Beam and John Darnielle should hook and have a discussion about how the sport impacts their creative processes (The Mountain Goats’ recently-released Beat the Champ is about wrestling.) The video is tender, thoughtful, and poignant.
At first, I didn’t know what to make of Tidelands’ latest EP Old Mill Park because of how diverse it is. As I listened more, I discovered that what ties the album together is the fact that every song is so distinct in its sound, making the listening experience quite the adventure.
Opener ”Old Mill Park” begins with a calming guitar intro. Gabriel Leis’ voice quickly enters and the coolness in his voice furthers the relaxing feel of the song. As the lyrics say, “drifting on, drifting on”; it’s as if your mind is drifting on to a much more peaceful place. The track has a very Shins feel to it.
“Dog Named Bart” begins with a much more classical instrumentation, primarily through the use of strings. You can begin to understand why they call themselves “Orchestral Indie Rock.” The adorable lyrics paired with the back-and-forth, male-to-female vocalization really transform this song from a potential classical ballad to a more cheerful orchestral folk song.
The aptly named “Four Strings and a Wooden Box” interlude in the middle of the album is exactly as the title states: a classically brilliant cello/violin interlude. It’s interesting that the interlude begins with more hopeful-sounding notes and transitions into more minor, dreary ones. The interlude really serves as a good transition for the collection from the two more upbeat songs to the three more complex and dark ones.
“Hole in the Ceiling” immediately follows the interlude with a distinctly flamenco feel. The use of brass instruments with the traditional flamenco guitar melodies really add this dark Latin American sound to the song, throwing a unique twist into the listening experience.
“Brown Eyes” and “Low Roller” both have a lovely mellow sound. The band uses a melodic vocal harmonization to add a calming effect, much like what Milo Greene does in their music. The use of the electric guitar paired with the sensual lyrics brings “Brown Eyes” from mellow to sultry.
Closer “Low Roller” ties the album together beautifully. The long track clearly has two parts separated by a distinct midpoint, where the song turns from more of a vocal-driven track to an instrumentally driven one. Through a repetitive beat, the song slowly revs up to the final closing section. The final set of lyrics begin with the phrase “turn the lights down ma” which gently nudges listeners into the direction that the outro moves toward. The end of Old Mill Park leaves its listeners in a calm sleep-like state through beautiful instrumentation and rest-encouraging lyrics. Tidelands’ “Old Mill Park” is definitely worth the buy.–Krisann Janowitz
Bands come and go through the doors of Independent Clauses–some shine bright and disappear, while others put on the slow burn to the top. Midnight Pilot is one of the latter, as I’ve been covering them (under the name Ringer T) since 2005.
In an era with fewer “sure things” in terms of economics, it’s remarkable that bands like Midnight Pilot just keep on keepin’ on. Their self-titled debut album under their rebranded new name is a crunchy slice of Americana-tinged alt-country that shows off their depth of songwriting experience.
I’ve often compared the work that Grant Geertsma, Kyle Schonewill and Kris Schonewill create to Paul Simon mixed with the alt-country band du jour. While the vocals still can attain a Rhymin’ Simon sweetness, Midnight Pilot sees them cranking the guitars a bit. Standout “Let Loose” is a perfect title for a biting, ominous rocker that has some Drive-by Truckers influences in the verses. They don’t go full guitar onslaught, though: the chorus includes hooky “ba-ba” and “whoa-oh-oh” vocals.
No matter where the band takes the sound, their core competency is memorable, hummable melodies. The slow-build roar of “Give Me What You Gave to Him,” the NeedtoBreathe-esque “Take Me There,” the piano-driven ballad “Better Man”–Midnight Pilot is in the business of hooks.
Where their previous albums were often intimate affairs, Midnight Pilot is a hugely orchestrated effort. Opener “Give Me What You Gave To Him” signals this by bringing a full gospel choir for the final crescendo. (There’s no better way to telegraph you’re going big than that.) “Takin My Chances” and “Birds Fly South” employ horn sections in two very different ways: the former in a Motown milieu, the latter in a flamenco flamboyance.
“Better Man” and “By My Side” incorporate big string sections (okay, several songs include big strings), while tunes like “Taking My Chances” and “Break In” put the contributions of their newest member, Dustin Wise on keys, to great use. “Break In” stacks strings and keys, making it a standout track. It helps that Geertsma can still really soar a vocal line, too. He gets his snarl on in a couple songs, giving them a bit of a gritty scrub. While the overall sound is upbeat and friendly, those rockers let frustration peek out.
Midnight Pilot is an album that shows the band in full-out, going-for-it mode. The quartet has poured their efforts into these songs, and it shows. The final product is akin to a more highly orchestrated version of Dawes’ alt-country and Americana rock, with some downtempo Simon-esque pop songs thrown in. It’s an impressive collection of tunes that unveil charms with every subsequent listen. If you’re into Americana/alt-country, Midnight Pilot needs to be on your radar. Their album drops today.
Kickstarter was originally intended to get funds for art projects that couldn’t get funding any other way. In that spirit, a retrospective DVD from an Ohio pop-punk band from the mid-’90s has caught my attention. Adam Rich, whose various projects have graced Independent Clauses’ pages for several years, is putting together the project for his former band State of Green, pulling together live clips from shows all over the state.
But it’s not just a testament to days gone by; it’s also a memorial and thank-you to Rich’s parents, who were the unofficial documentarians of the band. (They both recently died, sadly.) If you’re into pop-punk, a good story, or the DIY spirit, check out State of Green’s Kickstarter. It ends on Wednesday.
Underground club producers Perdido Key transcend house music, varying into many upbeat dimensions that lug dark tones beneath the surface. Their latest EP, Lost is Found, is a lucid dream, pulling us into a labyrinth of psychedelic compounds and synthetic bass lines. Lost is Found journeys through its five tracks like a person entering a new room every few minutes at a dingy house party.
The title track starts by immediately lulling you into an opening scene of a cinematic warehouse venue. You can almost feel the passing slimy shoulder of a trance dancer. Four-on-the-floor rhythm provides a steady, uniform beat that emphasizes its deep house origins. With dreamy, light vocals layered on top, this is a flawless contrast of harshness and lovely ambiance. It has an Odesza feel initially, but the jacking rhythm quickly cuts through the fogginess. The ending gets mistier, trailing behind us distantly, echoed. You soon realize this track, and the whole EP, is an obscure and perplexing take on electronica.
Quick, even tempo is carried over into “I’m Free,” which exhales a spellbinding river of sharp, varied, static sounds complemented by deep vocals that dip in tone. The build-up halfway through the song sucks up the griminess with a laser-beam zap, and then drops down a series of clanking sounds, like banging on dull kitchenware.
“Rat Acid” is a peak time Techno cut that hops, soars and pops. It sounds like a recording of an arcade game’s inner-workings with its all-over-the-place bounciness and Pac-Man-like bits.
Earl Grey numbs “Lost is Found” into something heavy and sublime that somehow still maintains an elegant loftiness. This may be due to the angelic whispering that at first tries to seep through unnoticed. It has a SBTRKT dankness to it. The William Earl remix of “I’m Free” belongs in an action thriller. Its drawn-out layers build suspense and keep us wanting more, epitomizing Perdido Key’s hypnotizing prowess.
Perdido Key’s eccentric take on techno is dense, frenetic and lively. This NYC duo has captured their city’s grungy energy in Lost is Found through entrancing left-field house and the familiar scents of a sweaty, pulsating basement. —Rachel Haney
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.