I’m incredibly excited about Bowerbirds’ new album, which I will hear and review very soon. Until then, here’s a breathtakingly gorgeous video for “Tuck the Darkness In.”
This black and white period piece is an enthralling piece of storytelling. Kudos to Sunset Television for this beautiful mini-movie set to “Vagabonds” by Beirut.
Dustin Wong, whose optimistic prog-rock is purveyed under his own name and as part of Ponytail, is doing a cool fan-based project. He encouraged each fan to record himself or herself retelling a dream he or she has had and upload it to Soundcloud. Wong chose the most evocative of them and created songs around the words. He then completed the tune by setting the spoken word recordings on top of these instrumentals. The first of these, “Dave Sutton’s Dream: Gold Dust and Skateboarding” is online now. There are four more of these to come. I hope they will all be this interesting.
I’m incredibly excited that I’ve finished my year-end lists actually correspond with the end of the year. Without further pontificating, here’s the first half of the year’s best.
Honorable Mention: LCD Soundsystem - Madison Square Garden Show. It’s not an official release, but it proves that the tightest live band in the world only got tighter with time. “Yeah” is an absolute powerhouse.
I’m already starting to spread the word on Pete Davis’ The Pottsville Conglomerate, because it’s 95 minutes of awesome. Because it’s the length of 3ish albums and 6ish EPs, it’s gonna take a little longer than usual to review. But fans of Sufjan’s most bombastic moments should start listening to it now.
In lieu of a review, here’s a stunner of a video from Archer Black, for “Onward and Down.” I love videos that tell a story, and this one’s simple but powerful. The song is also incredible, like Beirut channeling The National.
I had two presentations and classes to teach this week, so I spent an unusual amount of time doing mental exercises to keep myself calm and focused. One of those was “pushing play on my iPod to hear St. Even‘s Spirit Animal.” It worked almost as well as deep breaths and [nerdy Wheel of Time joke redacted].
It’s easy to chill when listening to St. Even, who longtime readers may recognize from Steve Hefter and Friends (and Friends of Friends), as Spirit Animal‘s acoustic-based folk/indie-pop combines the preternatural chill of Breathe Owl Breathe with the downtrodden theatricality of Dan Mangan. Hefter’s baritone adds to the effect, as his few moments of urgency only serve to reinforce that Spirit Animal is predominantly a leisurely stroll.
Hefter’s low, calming tone spreads from his voice to the arrangements. They are meticulously crafted, but never invasive or heavy: the violins float along in “The Piano Inflates,” while the horns in “Cocksure” are poignant instead of flamboyant. This is due in part to the fact that Hefter hits it and quits it: Most songs hover around 2:40, with some falling near or under two minutes. Nothing has time to overstay its welcome.
The resulting tunes range from the chipper “Blinding Love” and very pleasant “Dreams/My Rope” to the self-effacing “Ariel” and the wrenching sadness of “Long Distance Calls.” The major exception is the Mangan-esque, self-aware closer “This Is Not a Song,” which ends in a ten-car folk pile-up of erratic guitar strum, flutes, choirs, vocal soloists, saloon piano and cello. It’s markedly different than the rest of the album, but it feels fine as an outro.
I listen to a great deal of music, but some albums stick with me past their week. St. Even’s latest seems quite promising to end up on the list with Beirut’s The Rip Tide as most recent entries. Fans of mature, thoughtful songwriting (Mangan, Breathe Owl Breathe, Josh Ritter, Josh Radin, Damien Jurado) should get their paws on a copy of Spirit Animal.
Elizaveta initially comes off as Regina Spektor/Ingrid Michaelson follower, but there’s a sharp left hook in the chorus that has me very excited for the future. Don’t worry; you’ll know it. Hers is a career to watch closely. (As for the video? Well, it’s got serious wtf factor.)
Noisetrade’s Fall Sampler includes several artists that IC has featured among its 30-strong ranks: Brianna Gaither, Jenny and Tyler, Joe Pug, David Ramirez and Sleeping At Last, the last of which was covered so early on in Independent Clauses’ history that the review isn’t even on this version of the site. There are also several bands we highly recommend that haven’t been officially covered here at IC: The Middle East, Derek Webb + Sandra McCracken, Ivan & Alyosha, Josh Rouse and Josh Garrels. I’m guessing the other third is full of joy and wonder as well – I’ll be checking it out soon.
If you’re into the whole ’80s nostalgia thing that’s going around, you’re going to be all over Geoffrey O’Connor. His album Vanity is Forever is streaming in full over here. Seriously, it’s 1985 on that webpage.
Beirut’s The Rip Tide is still keeping me company, and now a visual aid has been supplied! Sunset Television made this bizarre yet somehow fitting clip for “Santa Fe,” and while I’m not really sure what’s happening, I enjoy it.
I rode a fixed-gear bike for about two weeks as a result of an uninformed impulse purchase. (“Frame and chain for ten bucks? IN!”) After the initial shock and subsequent few days of learning curve, I deeply enjoyed the soothing rhythm of constant but leisurely motion. The pleasant experience ended in defeat and bike modification when I realized that Auburn is literally the hilliest place I’ve ever seen.
I was reminded of my fixie weeks when listening to Beirut‘s The Rip Tide. I’ve respected Zach Condon as a unique and important voice in indie rock since his debut album, but I haven’t spent much time listening recreationally to his music. The force with which he projected his signature tenor warble on the world turned me off, despite my affection for his horn/string/piano/auxiliary instrument arrangements.
That’s not a problem here, as Condon tones everything back (including his voice!) for a short but fully-realized album. In nine tunes and about 33 minutes, Condon does more to engender my affection than he has in all his previous work combined: each tune sparkles, but the gentle “East Harlem,” Sufjan-esque “Santa Fe,” sleepy “The Peacock” and swaying “Payne’s Bay” command my attention.
“Sway” is a good word for the whole collection, as the pieces seem to share a subtle rhythmic consistency. That’s what brought me to the bike: the tunes unspool at a speed faster than walking but slower than driving. It’s constant leisurely motion, otherwise known as the perfect soundtrack for lazy (bike) commutes home.
The mood is also consistent. Where Condon has been forceful or energetic in the past, he’s relaxed now. He never goes for the throat with any arrangement or vocal line, and the album is all the better for it. There’s enough variation in his horn-heavy orchestrations to distinguish between each song, but not so much as to strip the flow. You can still tell it’s Condon (no worries there, you’ll always know when it’s him singing), but I appreciate that it’s an older, calmer version.
The Rip Tide surprised me. I always give Beirut a chance, but this time Condon delivered on as much of his initial immense promise as can be expected. (So he’s not the next Jeff Mangum. And you are?) I have a feeling this will be in my year-end top ten, and that’s a big compliment, considering what made it into the half-year top list. But yes, The Rip Tide is that good. Go get it.
For Independent Clauses’ seventh birthday last year, I put out a small, limited-time compilation of unreleased songs by my favorite bands that IC has covered. I stepped it up this year for IC’s eighth birthday: I helped put a real release of new material into the world.
The goal of IC over the past eight years has always been to help undiscovered artists; it’s a natural extension to move into producing and management.
Alt-folk singer/songwriter The Duke of Norfolk is the first artist I’m partnering with in this new venture; his new EP Barnacle Goosecame out Tuesday. I helped produce it. The five-song release is free, and I’d recommend it to fans of Freelance Whales, Beirut, Guster and/or the banjo.
Thanks in advance for giving the tunes a listen! I’m pretty proud of the project, and hope you’ll enjoy it. Feel free to leave feedback in the comments or send it to firstname.lastname@example.org. Thanks for being a part of Independent Clauses over the last octade; it’s been a fun, fascinating and sometimes fretful ride, but I love it. Here’s to eight more!
Denmark’s Alcoholic Faith Mission plays a Beirut/Arcade Fire-style indie-folk that rides the fine line between style and substance. On first listen it seems that the band is all bark and no bite; the moods are solid and the instrumentation is strong, but no song jumps out and demands attention. There are choirs, acoustic guitars, horn sections, et al., but as an overall whole, And the Running With Insanity EP takes a very unassuming stance.
But as more listens follow the initial impression, these songs wormed their way into my head. A few weeks after I got this EP, “Running With Insanity” popped up on a shuffle list. While I was hard-pressed to remember who wrote the song or what it was called, I knew I liked it and could hum along. When I looked down at the title, I decided I liked the EP. Not because it stands out for virtuosic instrumentation or immediate tunes, but for the fact that I really like this EP for an almost inexplicable reason. It’s like enjoying The National. No matter how many times I disliked High Violet, I kept being drawn to it. Now I go to it as comfort music. I have no idea when I started liking that album; it just happened somewhere in there.
So it is for Alcoholic Faith Mission and its And the Running With Insanity EP. I really like it, because it’s a part of my brain now. I can’t explain how or why it got there, but I’m relatively certain this sort of thing will happen to you too if you listen.
I came into an appreciation of folk music at about the same time the folk revival was beginning to gain prominence (roughly four or five years ago). I was finally lucky enough to catch a thing at its peak; it seems I always go back and discover the goodness of a thing after the fact (point: I saw Death Cab for Cutie on their Plans tour, the Mountain Goats on their Get Lonely tour, Coldplay on its X&Y tour, and Guster on its Ganging up on the Sun tour; all of which were one album after their best album). But this time, I’m on the edge with the rest of the people rocking out to Mumford and Sons, because folk finally reclaimed energy.
La Strada’s New Home does Mumford and Sons one better. Instead of just being a folk band on speed (which, as M+S’s immense popularity shows, is quite alright), they’re a folk band on speed eating an indie band. It’s like gentler Beirut with a guy who can sing; it’s like Arcade Fire with acoustic guitars. This album is so incredibly hip and current that I’m afraid I’m not cool enough to review it. But I reject that notion, because the songs are brilliant. These songs aren’t just for the cool; they’re for people who like anything related to pop music.
“The Traveler” features a bouncy drum line, a mini-orchestra and a jaunty vocal line. The smooth quality of the vocals is immensely reassuring from the beginning of the album; he has the best elements of many different vocalists. His ability to convey emotion without oversinging recalls Death Cab for Cutie’s Ben Gibbard; his effortless delivery recalls people with gifted voices like Novi Split’s David Jerkovich. The fact that he meshes so well with the band makes me think of the National, even though their voices seem separated by (several?) octaves.
The ragged yet gentle rhythms of “The Traveler,” plus the immensely reverbed guitar solo, strings, trumpets, tubas, and keys make for a richly ornamented, impossible-to-dislike song. There’s tons going on here, but as in an Anathallo song, it all works together. Even when they kill the beat, punch up the accordion and turn the song into a Parisian street waltz (not kidding), it sounds amazing.
Then they kick into “Wash On By,” which brings a indie-rock surge of energy to their still-instrument-heavy mix. This song will make you move, as well as yell and cheer with the band. The rhythms, which are distinctly foreign but not exactly easy to pin down, simply bring the house down. I wish I could be in the audience for a performance of “Wash on By.”
Then there’s the title track, which for once is appropriately chosen. I hate it when bands don’t choose the right title track, but this one is far and away the most memorable track of the album (and you thought I’d lavished all the exuberant praise I had in me? naaa). The song is sparse, but it’s not sparse in the lack of instruments; they use the instruments sparingly, locking them in together to pull a distinct and certain mood out of the tune. The word masterful is not an exaggeration of this tune’s quality.
The whole thing is held together by the vocals, again, which are glorious and command several beautiful melodies. The brass band and strings contribute significantly to this tune. You will be singing “Hello strange familiar, you’re my new home; oh, wha-o, wha-o wha-o.” Trust me, it looks goofy there, but you’ll know exactly what I mean when it happens. You will be powerless to resist it.
My highest praise for an album is “I could write a small book about this album.” And it is very, very true of New Home by La Strada. I didn’t even get to talk about the lyrics, the art, the rest of the tunes (and seriously, that’s a tragedy to me, because “Baptism” and “Where You Want to Go” and “Go Forward” are all wonderful and worthy of covering). All I can say is, for your own good, buy this album. It will improve your mood for weeks.