Angelo De Augustine, a 22-year-old Los Angeles native, recently released his sophomore effort, How Past Begins. Augustine took one single (“How Past Begins”) off his debut album, Spirals of Silence, and paired it with two previously unreleased tracks that didn’t make the cut (“Most Of The Time,” “If I Could Fly”) and voila!
The raw feel of Augustine’s alt-folk music really draws the listener in and makes them feel at home. You know when you walk into someone’s house for the first time and your senses immediately feel at peace? Your nose smells your favorite warm apple pie. The temperature of the home is the perfect “not too cold, yet not too hot” middleground. You just get this feeling of being in a place that feels oddly familiar, even though you may have never even been there before. That’s how all of Angelo De Augustine’s music feels. His music feels homey and peaceful, as if you were always meant to be there.
Perhaps Augustine’s calming Bon Iver-esque voice is what really adds to the ambience. Maybe the simple instrumentation–mainly Augustine’s great guitar picking and strumming–makes all of his songs feel so comfortable. Or is it his raw, poetic lyrics that make his listeners feel at rest? Whatever it is, Angelo De Augustine really knows how to make a listener feel at home. His three-song collection, How Past Begins, is out now! —Krisann Janowitz
December is a tough month to release music: you’ve got orgs like Paste that have already released their year-end lists by the beginning of the month, blogs that are trying to clear out the files from November (or October, or September) to get all their 2014 commitments done, and listeners who are re-living the year instead of hearing new tunes. You should probably just wait till January. But if you don’t, and your release is really good, you might sneak one in under the radar. Morgan Mecaskey is 100% radar sneaking, because anyone who sounds like Sharon Van Etten fronting The National in an eclectic record store is going to get some good words from this camp.
Lover Less Wild is an adventurous, sultry, enigmatic EP that captured me on first listen. Mecaskey’s husky alto/tenor voice leads the charge on music that skirts boundary labels and ends up firmly in that catch-all camp of “indie rock.” Opener “White Horse” has soaring horns, female back-up vocals, churning guitars, push-tempo drums, and some royal fury in the vocals of Mecaskey herself. It sounds like she mentions the name “Jolene” in the chorus, which would hook her up to a long tradition of artists to find an admirable muse in that name. By the coda of the tune, Mecaskey is hollering “Sometimes I don’t feel like who I really am,” which is amazing, because she sounds completely like herself on that tune.
It’s followed up by three tunes that are a few notches down on the tour-de-force scale (but only a few; they all register). “Fighting Extinction” starts out as a distant, questioning mix between The Walkmen and Radiohead before erupting into some funky bass (?!), calling out some Motown horns, and bringing in a male vocalist for a contentious, exciting duet. It also includes the best saxophone solo this side of M83. Because it’s hard for Morgan Mecaskey to do anything twice, the title track opens with Wurlitzer and distant vocals before unfolding into a jazzy, hip-hop/R&B groove. Right about the time that I start to feel we should call up the Antlers and get them on the same tour, the song explodes into towering guitar walls and distorted bass. “Crushed” starts with nylon-string guitar in Spanish rhythms and ends with a full choir (a real one, not just a gang-vocal offering). In short, there is about as much happening in four songs as you can possibly imagine.
Mecaskey holds this whirlwind tour of music genres and styles together with her voice, which is a versatile, powerful, emotive engine. No matter what arrangement she’s leading, she’s in firm control of what’s happening. Her voice is at home wherever she lands it, which is as much a testament to her attitude and confidence as it is her immense songwriting chops. I don’t care if you’re listening to your favorite album of the year again (I know I am, no hate), you’ve got to check out Morgan Mecaskey’s Lover Less Wild. It will keep you spinning.
James Robinson‘s Start a Fire EP is a charming four-song release. Robinson’s acoustic-centric style fits somewhere between singer/songwriter confessionals and adult-alternative pop sheen, like a more mystical Matt Nathanson or a more polished Damien Rice. This mash-up results in the best of both worlds (instead of the dreaded inverse), with Robinson’s smooth vocals getting all silky around arrangements that have some indie mystery and ambiguity in them. Think less Ed Sheeran crooning and more of that feeling you felt the first time you heard Coldplay’s Parachutes.
The quartet of tunes works nicely together, moving along a high-quality clip without drawing attention to any song in particular. “Demons” has some great bass work and a nice, memorable vocal line; “Holes in the Sky” opens with some nice guitar and vocals that evoke Jason Mraz; “Smoke & Ashes” is the most tender of the collection. But it’s the title track that takes high marks here: its polished arrangement frames Robinson’s voice perfectly, making this an impeccably done song that you’ll be humming for a while. If you’re looking for some gentle singer/songwriter fare with some mystery in it, go for James Robinson.
Any discussion of Angelo De Augustine‘s Spirals of Silence must be prefaced by this information: de Augustine sounds, musically, vocally, and even lyrically, like Elliott Smith mashed up with Nick Drake. For many people, this is enough to send them running in its direction. I forwarded this to the resident Smith fan in my life and was promptly given compliments on my character after his first listen. It’s a hit.
But it’s not just that it sounds like Smith: the songs are incredibly well-done. de Augustine has the fingerpicking/breathy vocals/tape hiss thing down, but the things he chooses to fingerpick are beautiful, contemplative, melodic works that move sprightly along. Lead single “Old Hope” is a perfect example of this, as de Augustine whispers his way across a traveling, bouncy-yet-not-cheesy guitar line. (Side note: because this song sounds like Josh Radin, I realized that I’d never noticed how much Elliott Smith influenced Josh Radin.) Other highlights include the oddly heartbreaking “Married Mother,” the tender “I Spend Days,” and the intriguing “You Open to the Idea.”
I could say more about Spirals of Silence, but I think I’ve said all I need to in order to get you to listen to this or not. Viva Angelo de Augustine, please and thank you.
1. “Great White Shark” – Hollands. Maximalist indie-rock/pop music with groove, noise, melodic clarity, effusive enthusiasm, strings, harp, and just about everything else you can ask for. If the Flaming Lips hadn’t got so paranoid after At War with the Mystics…
2. “Coyote Choir” – Pepa Knight. Still batting 1.000, Pepa Knight brings his exuberant, India-inspired indie-pop to more mellow environs. It’s still amazing. I’m totally on that Pepa Knight train, y’all. (Hopefully it’s The Darjeeling Limited.)
3. “Peaks of Yew” – Mattson 2. I love adventurous instrumental music, and Mattson 2 cover a wide range of sonic territory in this 10-minute track. We’ve got some surf-rock sounds, some post-rock meandering, some poppy melodies, some ambient synths, and a whole lot of ideas. I’m big on this.
4. “Firing Squad” – Jordan Klassen. Sometimes a pop-rock song comes along that just works perfectly. Vaguely dancy, chipper, fun, and not too aggressive (while still allowing listeners to sing it loudly), “Firing Squad” is just excellent.
5. “Droplet” – Tessera Skies. There’s a tough juggling act going on in this breathtaking indie-pop tune: flowing instruments, flailing percussion, cooing vocals, and an urgent sense of energy. It’s like if Jonsi’s work got cluttered up with parts and then organized neatly.
6. “Available Light” – David Corley. If Alexi Murdoch, Tom Waits, and Joseph Arthur all got together and jammed, it might sound something like this gruff yet accessible, vaguely alt-country track.
7. “Blue Eyed Girl” – Sam Joole. I’d like to make a joke about blue-eyed soul here, but it’s actually closer to Van Morrison’s “Brown Eyed Girl” than that. Lots of laidback guitars, good vibes, but not Jack Johnson twee, if you know what I mean.
8. “By the Canal” – Elephant Micah. I’m a big fan of people who aren’t afraid to let an acoustic guitar and voice splay out wherever they want and however long they want. Here, EM acts as an upbeat Jason Molina, putting the focus on his voice instead of the spartan-yet-interesting arrangements. Totally stoked for this new album.
9. “If It Does” – Robin Bacior. In this loose, smooth, walking-speed singer-songwriter tune with maximum atmosphere, shades of early ’00s Coldplay appear. That’s a compliment, people.
10. “Storm” – Dear Criminals. Not that often do I hear trip-hop, even in an updated melodic form. Way to go, DC–you pick up that torch that Portishead put down.
11. “You Open to the Idea” – Angelo De Augustine. Beautiful, delicate, wispy, earnest whisper-folk. They don’t make ’em like this very often anymore.
12. “Billowing Clouds” – Electrician. The mournful, affected spoken word over melancholy, trumpet-like synths makes me think of an electro version of the isolated, desolate Get Lonely by The Mountain Goats.
13. “Blue Chicago Moon (demo)” – Songs: Ohia. Until Jason Molina, I’ve never had a personal connection to the art of a troubled artist who died too early–Elliott Smith was gone before I knew of his work. Now with unreleased demos coming out consistently after Mr. Molina’s death, I feel the sadness of his passing over and over. Each new track is a reminder that there was work still to be made; it also feels like a new song from him, even though it’s objectively not.
Is this how a legacy gets made in the digital era? How long will we keep releasing new Molina songs, to remind us that he was there, and now he is not? (Please keep releasing them.) Will the new songs push people back to “The Lioness”? Will we keep these candles burning to light our own rooms, or will we bring them to other people? “Endless, endless, endless / endless depression,” Molina sings here. Is it truly endless? Are you still depressed? Does your permanent recording of the phrase make it truly “unchanging darkness”? “Try to beat it,” he intones, finally. Try to beat it, indeed. Keep trying until you can’t anymore. And then let your work stand forever. I guess this is how I mourn.
1. “Old Hope” – Angelo de Augustine. It’s like Elliott Smith is alive. Maybe there’s some Joshua Radin and Nick Drake in there, but mostly the whispered vocals and style of acoustic guitar remind me of Smith.
2. “Amarillo” – Anna Vogelzang. Combine the charm of Ingrid Michaelson with the full arrangements of Laura Stevenson, and you’ve got a little bit of an idea of Vogelzang’s talent. She’s one to watch.
3. “Red River” – Tyler Sjöström. Fans of Mumford and Sons will love this theatrical, finger-picked folk-pop tune.
4. “Forever Gone” – Andrew Marica. The morose romanticism of Damien Rice + the distant reverb-heavy atmospherics of Bon Iver create this downtempo ballad.
5. “Delilah” – Tony Lucca. This one’s pretty boss: Wide-open, sneering, engaging full-band country-rock with an eye toward Coldplay-style, radio-friendly vocal melodies. Also, there’s some awesome saloon-style piano playing.
6. “Angel Tonight” – Peter Galperin. Musical adventurer Galperin moves from his bossa nova experiments towards ’80s country-flavored classic rock. There’s some Springsteen, some Paul Simon, and more all combined here.
7. “Time” – Night Windows. Acoustic-based indie-pop a la David Bazan that teeters on the edge between twee and melancholy.
8. “I Got Creepy When Lou Reed Died” – Red Sammy. The husky, gravel-throated country of Red Sammy gets an electric makeover for this tribute tune. The title a weird thing to chant, but you’ll probably want to sing along repeatedly to the mantra-esque chorus.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.