1. “Sync” – Cloud Castle Lake. If Sigur Ros ate a marching band and a prog rock outfit, they still probably couldn’t make this genre-exploding post-rock track. This is some of the most eclectic, beautiful songwriting I’ve heard in a long time.
2. “L.A.M.P.” – A.M. Stations. If you’re on the train that post-rock doesn’t have enough of punk’s energy, then this pounding instrumental track will leave you clapping.
3. “Blood Mirage” – Crown Larks. If you’re concerned that post-rock isn’t weird enough, then Crown Larks’ fractured, wild, sprawling tunes will comfort you. This is one of those bands where you feel bad for all the instruments involved because of the intense, atypical sounds being wrung out of the poor pieces of metal, wire, wood and cork.
4. “Steady Waves” – Cross Record. Pensive and dark, gentle and harsh, like Bowerbirds on an electro bender (even though it feels like these may be all organic instruments manipulated in unusual ways).
5. “Open Season” – Youth Model. Muse would be proud of the move to layer a 1950s PSA about the atomic bomb over the intro to this dark, theatrical rock song about paranoia. Actually, Muse would be proud of pretty much everything in this song.
6. “Coshh” – The Vryll Society. Here’s a highway song for a cosmic, religious, post-consciousness realm.
7. “Take My Hand” – Palmas. And if you go surfing in that cosmic, religious, post-consciousness realm, you can flip on this perfect soundtrack.
8. “Golden Lion” – The Besnard Lakes. ’70s rock’n’roll updated to sound tight and modern, but with just enough guitar haziness to be a little reality-fuzzing.
9. “One Block Bar” – Rett Smith. Here’s some electric blues that don’t sound like The Black Keys. The gritty, urgent noise here is much more earthy and raw than the stadium-rockin’ Keys.
10. “Bruises” – Bells and Hunters. Do you need a stomping, riff-heavy rock track in your life? Of course you do, especially if it has great female vocals on top of all that.
Bells and Hunters wastes no time announcing that they are something different. By 1:25 into the opener (which is also the title track) of Weddings and Funerals, the band has given listeners a spacey intro; a garagey, overdriven guitar riff; rapid-fire ’90s-style female speak-sing; a trumpet line; some accentuated guitar arpeggiation; and a pop-punk- inflected breakdown. This is not what you normally listen to, unless there are some No Doubt B-sides that sound like this in your catalog. This weird-but-cool garage-rock takes an even weirder turn in the next track: “73” is a slow-paced alt-country tune whose only connection to the previous tune is the particular style of guitar picking. (They even bring in a male vocalist halfway through, mixing it up more.) Bells and Hunters are not afraid to experiment.
Those two tunes show good extremes of Bells and Hunters’ sound, as the rest of the album sees the band combining those two sounds liberally. (They do hit the distortion pedal at the end of “73,” but it still sounds like Old 97s-style alt-country instead of garage-rock.) “Bird” starts off with dainty sounds and jaunty rhythms–like an Andrew Bird piece–but incorporates some majorly Weezer-esque guitar stomp by the end of the tune. Highlight track “Mercury” starts off with some ominous guitar picking and tom beating before bringing in a spaghetti western trumpet line, fusing the intensity that they bring with their garage-rock to a quieter arrangement. (Never fear, though: they let the drums go nuts on the cymbals, dirtying up the sound almost as much as the fuzzbox would.) “Planes” is basically a finger-picked folk song blown out by a garage-rock band. It sounds awesome, if a bit foreign to ears unaccustomed to it.
Bells and Hunters’ sound is an exciting and interesting one, exploring spaces between genres. I’ve mentioned Steven Hyden’s dictum about the future of music before (“a future where all music sounds like everything at once“), and it seems that Bells and Hunters are ready for that bold future. This is a creative, inventive, interesting take on two different genres. If you’re up for something unusual, check out Weddings and Funerals.
The Old 97s are a touchstone for Time Travels‘ sound as well. Where Bells and Hunters reminded me of Rhett Miller and Co.’s louder bits, Time Travels reminds me of the band’s softer side. Secret EP puts the emotive side of alt-country on display, with opener “It is.” leaning heavily on a remorseful, emotive vocal performance. Frank McGinnis has the soaring tenor pipes for the adult alternative genre, and the sweeping crescendoes of “It is.” do swing toward the Matt Nathanson/Goo Goo Dolls/Ben Rector style. But instead of getting mushy and cloying in their more upbeat stuff (like Matt Nathanson has a tendency to do), Time Travels takes after Ben Rector by sticking to a more upbeat, staccato, rock-influenced style in the title track.
The rest of the five-song EP leans closer to the emotive power-pop of the opener, with admirable vocal turns in “The Eye” and “Wraith” (check that falsetto!). “Wraith” also has some nice bass work, which I particularly like. Time Travels have two very different directions they can head from the Secret EP, so it will be interesting to see if they veer off on a path or keeping splitting the distance. Until further information is available, I’ll enjoy the upbeat “Secret” and lullaby-esque “Orange you glad I didn’t say banana?”
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.