1. “Silverlake” – Underlined Passages. The dreamy indie-pop of UP’s previous work is traded for a punchy indie-rock model; Michael Nestor’s vocal lines are still flowing and smooth, but the now-more-crunchy-than-jangly guitars and snappy drums give this tune a new-found pep.
2. “Though Your Sins Be As Scarlet, They Shall Be White As Snow;” – Glacier. Dense, heavily distorted, pounding guitar chords set the atmosphere for this 13-minute post-rock/post-metal epic, but there’s a lot more going on in 13 minutes than just chug (including a found-sound clip of an old time voice reading the end of Matthew 9).
3. “English Weather” – Fick as Fieves. British rock that falls somewhere between the Arctic Monkeys and The Vaccines, propelled forward by an indomitable syncopated guitar riff.
4. “Like Lightning” – Cosmo Calling. Fun vocal rhythms and melodies take the lead on this indie-pop-rock track. The guitars are neat and accompany well, but this one is all about the staccato, syncopated vocal delivery.
5. “Canary” – Holy ’57. There’s a certain type of major-key, drums-first vintage groove that reminds me of fuzzy home videos of summer in NYC during the ’60s and ’70s. People are rollerskating. A dude is playing a trumpet on the corner. There’s a hazy glow around everything. This indie-pop song sounds just like that (even includes a trumpet!).
6. “I Can’t Say No” – The Crayon Set. Smooth, appealing acoustic indie-pop with some fuzzed-out guitar and shimmering synths adding color. The chill vocals fit perfectly over the backdrop.
7. “Bedford” – Too Many Zooz. If you’re into Moon Hooch’s mad sax blast, you’ll be equally thrilled by the sax-trumpet-drums maelstrom that is Too Many Zooz. This video sees them bringing their incredibly infectious rhythms and powerhouse melodies to the NYC subway–at 3:33 in the morning. Stuff like this just happens at 3 a.m. in New York, I guess?
8. “Keep the Car Running” – Silver Torches. If Bruce Springsteen had emerged in this era, this might be what like he would have sounded like: surging drums, melodic piano, yearning vocals, and a serious-yet-warm atmosphere. Just a great tune.
9. “International Dreams” – Farm Hand. A rubbery, loping electronic beat underlines distant, almost-droning vocals for a tune that sounds like “My Girls”-era Animal Collective in a sleepy (yet still happy) mood.
10. “Like Going Down Sideways” – Cut Worms. Lo-fi tape hiss, Beatles-esque songwriting impulses, and “eh-it-doesn’t-need-to-be-perfect” performances make for an endearing tune.
11. “Old Fashioned Way” – Todd Kessler. Ah, yes. A calm, gentle folk love song talking about slowing down and looking back to the old fashions. It doesn’t get much more folky than this, y’all, and it doesn’t get much more chill.
12. “Enjoy It While It Lasts” – Easy Wanderlings. Strong female vocals lead the way through this easygoing folk tune. The video has an actress gallivanting around in a field, which is a pretty much perfect analogue to this wistful, nostalgic tune.
1. “Inside Your Heart” – Hectorina. This track manages to make the lovechild of Prince, James Brown, and a garage-rock band sound like a fine, upstanding individual. Also there’s a choir at the end. Need I say more?
2. “Other Kids” – Mighty. Yawping, hectic, mile-a-minute, ideas-everywhere garage rock that sounds as wild and wide-open as the youth that it so clearly evokes.
3. “The Runner” – Mountains Like Wax. As a fan of the Mountain Goats, I am a bit of a connoisseur of enthusiastic yelps. (John Darnielle actually remarks on the quality of his own yelps in the All Hail West Texas re-release liner notes.) I must say that the scream at 4:51 that turns this slow burner into a post-rock thrasher is an exquisite example of the enthusiastic yelp. I believe it when it happens. That’s rare. The rest of the band puts all they’ve got into it too, but man. That scream.
4. “Her” – The Oswalds. I love an ambitious tune. This one zigs and zags all over the place, moving from garage rock to strict-rhythm indie-rock to acoustic sections to a fractured, crazy guitar solo and then through it all again. The panning is all over the place, adding to the chaotic-yet-controlled feel. You feeling adventurous?
5. “Haunted House” – Ancient Cities. Gotta love an indie rock track that uses the piano as its driving force: check how they use it to escalate the intensity of the song instead of the guitar.
6. “Pressure” – Down Boy. Will a heavy, scuzzed-out guitar and thrashing drums duo ever get old? Not yet, at least: Down Boy makes my feet want to move and my head want to rock.
7. “Anime” – Debris of Titan. You know how Pogo makes these fluttery, wide-eyed electronic burbles? Debris of Titan makes that sort of music in a chill psych-rock vein. I don’t get a lot of psych-rock, but I know intuitively how to jam to this.
8. “Big Sky” – The Pressure Kids. Straight-up-and-down indie rock that draws off elements of Young the Giant, Spoon, and other people that manage to make mid-tempo sound intense.
9. “Denim” – Brave Town. This guitar-fronted pop-rock tune has arena aesthetics (if not aspirations) and hooks to match, reminding me of Colony House (similar) and Arctic Monkeys (less so, but it’s totally there).
10. “Not That Easy” – Lime Cordiale. Some songs just sound like they belong on the radio: this fusion of pop-rock and electronica fits right in the zeitgeist (or maybe we’re just past it?). Either way, this tune is great.
11. “Alright” – Lemmo. Sometimes a chorus just hooks me and I can’t turn away.
12. “Deerhunter” – Ghost of You. Tight groove, attractive arrangement, solid vocals: indie rock gold.
13. “The Road” – DB Cooper. Noisy-yet-slick pop-rock a la Fall Out Boy and the like, with vocals reminiscent of All American Rejects. It’s the sort of catchy chorus and fist-pumping drive that people who love nuanced indie pop secretly love.
14. “Goddess of the Sun” – Postcards from Jeff. Manages to work a flute into the rock part of an indie-pop to indie rock transitional track. Mad props. This one could fit great in any number of indie movie soundtracks.
In my academic research, I study genre–the socially-grounded understanding of categorization that individuals or groups have. (I look at it in terms of business writing, but my personal interest overflows those strict bounds.) So I’m intrigued by how people describe the music they make and how it signifies to themselves and others. Ava Marie‘s Kettle Steam lists “folk” and “folk rock” as tags, which seem to be describing a process or a community of choice more than the sound itself. (I have no problem whatsoever with this: I am no purist, nor I am the folk police.) Kettle Steam is a thought-provoking, intriguing album with a lot of angles to consider.
The six-song, 26-minute release is characterized immediately by several elements: minor keys, distorted electric guitars, hypnotic baritone vocals, and guitar solos. The sonic comparisons skew closer to the fractured tensions of MeWithoutYou and Modest Mouse than Josh Ritter or Joe Pug. Again, this doesn’t mean that this isn’t folk–it just means that the term folk here does not signify “fingerpicked acoustic guitars.”
The definition, perhaps, aligns more closely with a resistance to something else: even though “indie rock” and “alternative” have always been constructed in opposition to mainstream rock, indie rock currently is as close to a mainstream rock as we have (since the rarified pop-rock world that Nickelback and Lifehouse live in bears little resemblance to the rest of the music world at this point in time). Ava Marie is definitely not playing the same game as indie rock bands like Arctic Monkeys or Two Door Cinema Club–these are thoughtful tunes that reference specific time periods and places (WWII in the title track; Casco, Maine in “Motel Room in May”) and are more committed to lyrical beauty than sloganeering.
So one takeaway from this is that maybe folk is becoming what indie-rock used to be: a refuge from a particular type of music, a space where possibilities are opened back up. One piece of data does not a conclusion make, but the strength of the anecdote is compelling: tunes like “Kathleen Carter” and “Only Sea” combine instrumental melodies and arrangements, a refined vocal approach, and a deep sense of mood to come up with impressive sonic wholes. There’s a lot of reverb (but not too much to cloud the individual elements); space is respected and used carefully; the band knows how amp up so that a guitar solo has its full, incendiary effect. Hints of a more traditional folk past shine through in the fingerpicked moments of “Motel Room in May,” but the single-note work in “White Hides” is all wiry post-punk rock. There are tensions on both ends, as with most middle entries.
A note on the guitar solos: it’s fun to hear a band just let rip on an instrumental section, especially when pitched against thoughtful lyrics and unadorned vocals (as happens directly on “White Hides”). It’s entirely possible to construct a careful mood and then let roar against it, as bands like The Walkmen and occasionally The National have discovered. But they do it without getting gaudy or turning into a punk band: they have carefully framed their own idiom and let the lead guitar work from from and through it. The intro to “Kathleen Carter” is a perfect example of this.
This review has been a bit more oblique than my usual work, but I feel that it’s a fitting response to Kettle Steam. The work here is carefully crafted so as to be thoughtful but not ponderous, intriguing without being enigmatic, and melodic without becoming a pop-rock band. It’s an album that I wanted to return to repeatedly, to parse out the sounds and lyrics therein. It’s not something to be consumed and filed away; you can sit with this one a while. It will reward you.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.