LA based singer-songwriter Alma has massive musical talent, as evidenced by her latest EP Travel Size. She not only wrote and produced the EP, but her soulful voice provides all of the female vocals. The four-track EP maintains a beautiful balance between soothing slow songs and fun fast ones.
The first track, “Get-Go,” starts the EP off strong. A rhythmic clapping sample drives the song as its main source of instrumentation. Alma’s soulful voice has a soft tonal quality reminiscent of Jo-Jo. Throughout the song, two other voice parts–one higher and one lower–back up Alma’s primary vocals, while a fourth breaks free, sounding improvisational. All four parts are Alma herself; such a feat takes great talent.
“Medicine Man” slows it down a bit, as the track opens with a piano and more legato vocals. Another sample, snapping this time, joins the track. Midway through, an electric guitar fills out the instrumentation. The electric guitar takes front and center with short solos toward the end, adding a bit of flair to the track.
“Oh, K” opens with a sweet acoustic guitar anchoring the track. In this one, Alma’s voice has more of a sassy, rap-like quality to it that adds spice to the song. The end picks up pace with a breakdown where Alma goes back and forth with her harmonic back-up (which, as we know, is all her).
The final track, “West Side Winter Feat. Marcus Broderick,” is a beautiful ballad. The song begins with gorgeous harp playing before Alma’s voice joins in. At the chorus, Marcus Broderick lends his vocals and continues to sing the next verse alone. The male/female vocal pairing is a powerful combination.
Alma’s Travel Size EP is a soothing, soulful collection that you won’t want to miss out on. —Krisann Janowitz
1. “Every Fight” – Lost Feeling. This complex, attention-grabbing track provides the electronic drama of a Baths track with more acoustic guitar and strings. Here’s a voice to watch.
2. “Hello Miss Lonesome” – Marlon Williams. Williams’ voice just fits so perfectly over this familiar-yet-strange rockabilly-meets-alt-country sprinter.
3. “Give It Up” – Animal Years. Any band sharing a name with a Josh Ritter album should make folk-rock as gleeful, catchy, and all-around fun as this. I can see myself jumping up and down to this song live.
4. “Oh, K” – Alma. Do you need a ray of acoustic pop-soul sunshine to cut through a gray day? Have this one.
5. “Holy Water” – Ed Prosek. Bear with me on this one, but I imagine this is what Mumford and Sons’ last album would have sounded like if they had not fully rejected their acoustic roots: it’s got high drama, but it’s contextualized in a mellow, lush, developed arrangement (check that choir).
6. “Winter Beat” – Michael Nau. Nau is half of Cotton Jones and–more importantly to me–the man behind Page France, one of Independent Clauses’s earliest loves. This walking-speed, bleary-eyed, Lou Reed-esque jam is a cool turn.
7. “No Stone” – Jenny Gillespie. Gillespie’s voice is wide and expansive, providing a nice tension against the close-cropped, keys-driven indie-pop below it. As a result, the tune has a unique vibe that makes its reference points tough to place.
8. “Darkness in Me” – Eight Belles. There’s a theatrical quality lurking just under the surface of this easygoing acoustic tune: you can find it in the piano, the surging strings, and the little swells at the middle of the song. It pairs nicely with Jessi Phillips’ confident alto voice to create a surprising, compelling track.
9. “The Broken Spoon” – Backyard Folk Club. Mad props for the name actually describing the sound. In addition to sounding like the most fun you can have on the back porch, this band has spoons, too!
10. “Chosen Peace” – Steamboats. We could all use a lot more peace in our lives, and if it’s delivered in a warm folk style, so much the better.
11. “Riot” – Supersmall. “Hello, is this Quiet is the New Loud HQ? Are y’all still open for business? Can we join? Here’s our credentials.”
12. “I Am Trying to Disappear” – Matt Bauer. Fresh, bright, and tentative, like if the lo-fi had been scrubbed out of all those early Iron and Wine records to hear how fragile things get when everyone can hear every bit of your plan. It picks up by the end very nicely, but that first half is delightful.
13. “Hollow Body” – Many Rooms. There’s something raw and powerful about the delicate acoustic exploration of this track.
I love doing long reviews, but SXSW has thrown me off my game. To catch up, here’s a rare quartet of quick hits.
Dana Falconberry‘s four-song Though I Didn’t Call It Came is a beautiful, immersing release. The thirteen minutes pass rapidly, as Falconberry’s uniquely interesting voice plays over intricate yet intimate acoustic arrangements. Highlights include the complex and beautiful songwriting structure of “Petoskey Stone,” the Michigan-era Sufjan Stevens fragility of “Muskegon,” and the casual wonder of whistling-led closer “Maple Leaf Red (Acoustic).” It’s a rare songwriter that has tight control over both individual songwriting elements and overall feel, marking Falconberry as one to enjoy now and watch in the future.
England in 1819‘s Alma will quickly remind listeners of British piano-rock bands: Rush of Blood to the Head-era Coldplay is checked on “Air That We Once Breathed,” Muse gets its nod in the title track, and the melodic focus of Keane is familiar throughout. But 2/3rds of the band is conservatory-trained, and those influences show. “Littil Battur” is a chiming, gently swelling post-rock piece with reminiscent of The Album Leaf; “Emily Jane” is another beautiful, wordless, free-flowing piece. There’s enjoyment in their emotive piano-pop, but there’s magic in their instrumental aspirations. That tension shows promise past this sophomore release.
The bouncy garage-pop of Eux Autres‘ Sun is Sunk EP has been honed for almost a decade to a tight mix of modern sensibilities and historic glee. “Right Again” and “Home Tonight” call up ’60s girl-pop groups but don’t overdo it; “Ring Out” features male lead vocals in a perky, jumpy, infectious tune that includes bells and tambourine. The 1:23 of “Call It Off” is thoroughly modern songwriting, though—the band is no one trick pony. There’s just no resisting the charms of Sun is Sunk, and since its six songs only ask for 15 minutes of your time, why would you?
After seeing part of a breathtaking set by Sharon Van Etten at SXSW 2011, I jumped at the chance to give some press for her new album Tramp. Turns out all the big hitters (NPR, Pitchfork, Paste) are already on it. The tunes powered by Van Etten’s emotive croon are in full form, developed from her sparse beginnings into complete arrangements. At 46 minutes, this mature version of Van Etten is a complete vision; still, the haunting, delicate closer “Joke or a Lie” is what sticks with me.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.