The aesthetics of Avid Dancer’s “All Your Words Are Gone” are cheery, nostalgic, and lovingly kitschy. There’s no disdain for the quirkiness of suburban objects, weird craft projects, and silly experiences: they’re all celebrated in this gentle, charming indie-pop tune.
Jacco Gardner’s clip for “Find Yourself” perfectly recreates the visual style, psychedelic guitar effects, and surreal storyline of ’60s and ’70s spy films. It feels like a lost James Bond opening sequence. (I mean that in the most complimentary of ways.)
While we’re on a nostalgia trip, let’s pair some Strokes-ian early ’00s indie rock with a goofy buddy cop narrative. Big Lonely’s “You Want It All” is a blast in several different ways.
Everything that Brook Pridemore does is endearingly off-kilter, and so it goes with his clip for “Brother Comfort.” It features a gorilla suit unabashedly. The song has some great horns amid his uptempo, enthusiastic folk-punk.
Merry holidays, everyone! Now, back to the music. I sometimes get talky here, but let’s get straight to the best ofs instead, since I’m already late on this. Here’s 11-20, listed from top to bottom. 1-10 comes tomorrow!
11. The Yellow Dress – Faint Music / Ordinary Light (Review) Most of indie rock used to be rickety, pastiche, oddball, and endearingly weird. Now only certain parts of it are: The Yellow Dress is certainly in that category, as their enthusiastically unusual indie-rock winds, warps, and wanders its way across the landscape. My wife and I sing “Isaac Fitzgerald (bum bum bum)” to ourselves absentmindedly.
12. Wolfcryer – Wild Spaces / The Prospect of Wind / Singles. (Reviews) Wolfcryer’s two EPs escaped the short-player list because his total 2014 output was closer to double-album length. His strum-heavy troubadour style gives a shot of energy to the often ponderous singer/songwriter game, and his engaging vocals deliver great melodies. Wolfcryer is going places, so you should jump on that train now.
13. Falcon Arrow – Tower. (Review) Falcon Arrow’s post-rock sounds nothing like anything I’ve ever heard in the genre: a drum-and-bass duo, the bassist uses what must be an army of pedals to create octaves upon octaves of notes, patterns aplenty, and looped bits galore. The results are soaring tunes that evoke the title of the record.
14. Zach Winters – Monarch. (Review) Snuck in at the end of the year, Monarch is the sort of unassuming album that works its way into your life and then acts like it never wasn’t there. Winters’ powerful arrangement skills are put to use in slowly-developing work that never roars but often washes over you.
15. Summerooms – S/t. (Review) Everything that Josh Jackson does is fun to listen to. Even this lo-fi “side project” that he amused himself with during the production of his new, hi-fi Fiery Crash record is awesome: it has that warm, lovely, dreamy glow that makes me think of summers by the pool.
16. Andrew Judah – Monster. (Review) Monster is a technically impressive marvel: an indie-pop record that juxtaposes instruments, styles, and moods with ease. It’s dark and not always fun, but it’ll drop your jaw at places.
17. Leif Vollebekk – North Americana. (Review) I fell in love with Gregory Alan Isakov’s gentle, smooth work last year; Vollebekk’s work isn’t as quiet all the time, but it does rarely get noisy. His drawling, attitude-filled vocal delivery gives a shot of intrigue into the elegant singer/songwriter work.
18. The Lovely Few – The Geminids. (Review) Wide-open, mood-evoking electronic music that uses outer space as its muse and touchstone. Entirely transporting and enveloping.
19. The Good Graces – Close to the Sun. (Review) Alt-country and indie-pop meet and mingle throughout this thoughtful record, which includes lots of surprising lyrical and musical moments.
20. Brook Pridemore – Brook Pridemore’s Gory Details. (Review) If you sped up a latter-day Mountain Goats record, or if you put a full band behind an early MG record, you’d end up with the folk-punk theatrics of Brook Pridemore. Great melodies, great arrangements, a lot of fun.
Honorary Mention: The Weather Machine – The Weather Machine. (Review) This one came out in 2013 and isn’t eligible for best of 2014, but it came to my attention this year. Brilliant songwriting reminiscent of Josh Ritter, The Mountain Goats, and more: what’s not to love
I tell every band that will listen that the long press cycle is a real thing. You’ve gotta get content out there at periodic and consistent intervals so that press people remember that you’re there and then therefore tell their readers. This means dribbling out content in ways that don’t necessarily fit with the last 30 or so years of music history (but actually fit real nicely with methods of the 30 before that; truly nothing is new under the sun).
There is no one who is a champ at this more than Brook Pridemore (person and band). Between 11 videos, a teaser EP, and a live release that started all the way back in early 2013, I feel like I’ve been listening to Gory Details for years already because I have. At its worst this could produce burnout, but with Brook it basically just makes me love the album. I mean, who doesn’t like an album where you can sing along with half of the songs the first time you press play?
It helps that Brook Pridemore’s work perfectly matches my favorite styles of music. Gory Details starts with the energetic strum of folk-punk, layers on impressively thoughtful lyrics sung via infectious indie-pop vocal melodies, then arranges the whole thing with an excellent band and even some horns. It’s like Andrew Jackson Jihad mellowed out into The Mountain Goats with some Josh Ritter thrown in for good measure (“Damage Control”). The weird way I’ve heard this album kind of skews the review: my favorite tracks are the tracks that were already my favorites. “Oh, E!” is tons of hyperactive, travelogue fun with an earworm melody; “Listening to TPM” is awesome for its horns as well as its tight control of mood. “Celestial Heaven or Leap of Faith” has a great instrumental hook and an urgent vibe throughout; the intelligent set of lyrics make it seem somewhat like a super-powered version of a Johnny Flynn song. “Brother Comfort,” one of the more aggressive tracks here (and new to me), is also fun in its neat complexity.
Gory Details is, above all things, a ton of fun. Brook Pridemore has a lot of things going for them on this album, and all the complex pieces have come together to make an album that transcends them all. Great lyrics, mature vocal control, excellent production job, solid contributing rhythm section; all of it comes together to make tracks like “Oh, E!” seemingly obvious songs: when has this not existed? When was it not amazing? To steal a song title, no one belongs here more than you. Of course you’re one of my favorite songs. Of course you are. You always were, as soon as I knew you existed. You need more Brook Pridemore in your life.
Maybe it’s the World Series, but there’s all sorts of baseball metaphors I can make about Blake Brown and the American Dust Choir‘s Three EP. The band’s straightahead alt-country could be called a fastball straight down the pipe, because you know exactly what you’re going to get and you can smash a home run off it. You could also call it a change-up, since the band prefers mid-tempo, Jayhawks-style work as opposed to the hectic Old ’97s style. If I were really reaching, I could point out there are only a few baseball teams left that use organ as prominently as Blake Brown’s outfit does.
The first two tracks of the three-song outing are the sort of pedal steel/harmonica/organ/acoustic guitar fare that is most recognizable as ’90s-era alt-country. The band doesn’t give in to Wilco-style minimalism or Drive-by Truckers’ rock-oriented guitar walls; they just stay in the pocket and do their work on vocal vehicle “Get Out.” The band is tight and clean throughout the track, notably so. The band gets a little funky on “White Rose” (check those Wurlitzers!). But the standout here is the subdued, late-night mope “Surrender (La Di Da),” which allows Brown to show off his melodic sensibilities and nuanced arrangements. Brown and co. manage to glue me to the track that never gets faster than a mosey and never raises louder than speaking voice through a beautiful electric guitar tone, distant droning organ, and thoughtful percussion.
If you’re in the market for some alt-country at CMJ, I’d look up Blake Brown on Saturday at Wicked Willy’s. (He’ll be there with M. Lockwood Porter, too!)
I think we have a true folk voice here. I had never heard of Brook Pridemore, hailing from Brooklyn, New York. (By the way, the title of the live cassette I’m reviewing here is My Name Is Brook Pridemore, And I Live In Brooklyn, NY). I had the chance to talk with Brook, and I think the answers write this review. After sampling his music, I decided to get to know this artist.
Bill Callahan, Thee Headcoats, Tom Waits, The Mountain Goats…
I can see that Brook gravitates toward very real, natural artists. Brook once got to show Bill “Smog” Callahan his Bill Callahan tattoo! Similarly, Brook writes in a true folk tradition. He writes about the immediate, foregoing the struggles of song construction and ambiguity that songwriters often labor over. I ask Brook about performing solo with the type of concrete material he has.
“I am not a ‘singer songwriter.’ Brook Pridemore is a band. It happens to have the same name as I do. It has always been a band, there have just been long patches where I’m the only person playing. I have learned, through thousands of solo shows, how to perform under any circumstances. I could go on for days regarding the weird spots I’ve been in. I got used to running out as soon as the band before me was done, and shout my name and where I was from, and start to play. Fewer people left, if I did that. It has still always been a tough slog. But I wouldn’t trade it for the easier route.”
Brook says his home state of Michigan has nothing to do with his lyrics, but that where he is now does.
“A good bit of my lyrical inspiration comes from years of seeing Kerouac’s America, that is, big wide open spaces, taken through a windshield, the clack-clack of the interstate beneath the wheels, getting stranded atop mountains, making out with strangers, rocking out in Austin after spending the previous night in jail, never giving up, never surrendering, always on the go, always on the run, until you stop and breathe, and realize that the feeling that you’ve been running away from is in your own head. And you stay home (Brooklyn) for a while, and you learn how to occupy the space you’re in. So, yes, location matters a lot in my lyrics.”
Bill Callahan says in his song, “Seagull,” “A barroom may entice a seagull like me right off the sea, and into the barroom. How long have I been gone? How long have I been traveling?” I ask Brook if he is married, single, or happily involved. Also, if he meets a lot of hotties because he makes music… or because he’s at bars more than an average person (performing)… or after performing …after a sweaty rave-up (which are what songs like “Chocolate Cake City” and “The Year I Get It Right” from this new live release are: drenched roof-rockers).
“I’m not in a relationship at the moment. I learned the hard way that I’m not going to meet my wife at a bar. I’m an odd duck. I need to get to know a girl.”
The reviewer interjects. “But, if you’re like (Brook) you run like hell and get to see the world, ‘til you find yourself in Brighton… missing a girl.” -directly from his own song “Oh, E!” – the reviewer’s pick from this release.
I guess we all want to know, then, why did Brook Pridemore start writing songs or, rather, start just putting his reality right on the line… an open book? “I was drawn to music from an early age. I was looking for a creative outlet, and I’d missed the boat on marching band. I got my hands on a guitar in 1993, and have never really looked back. Music is so much more immediate than poetry, or fiction, or acting. It’s also so much more personal.” One can pick any song on this live cassette and just know that you’re going to hear a great story, well-told. It’s really an exciting listen also, because you can hear the die-hards in the front rows near the recording device singing along. Brook finishes, “I didn’t realize until I was much older that the big reason for writing songs is so I could make people listen to what I had to say. And because I wanted to make people dance.”
He gets them dancing around track four of the live cassette (recorded at the Sidewalk Café in Manhattan in 2011), and he only has to suggest it once.
Discover Brook Pridemore. Check out the new live cassette. I hope to see life in the very in-the-present way Brook does. It seems like a great way to exist, experience, and then move forward. -Gary Lee Barrett
Brook Pridemore’s second video is as much fun as his first one. Punchline: Brook takes his guitar everywhere–really, everywhere. The Mountain Goats-esque power-pop is also awesome.
Kodacrome’s elegant “Strike The Gold” has a perfect video: super-slo-mo of a horse getting ready for a run and then doing it. I can’t even explain how perfect this video is for this song.
In June, I got to see The Postal Service live. It was such an incredible experience that I couldn’t find words to adequately explain it. Instead, The Creators Project got together and made a 14-minute video about PS’s tour. It is beautiful. You should watch all 14 minutes.
Whispery indie-rock outfit Listolet’s “Lullaby” video includes animation on dot matrix printer paper. Even if it’s just an animation of dot matrix printer paper, I’m excited that there’s still cultural cachet in that old technology. Love this.
The video for Akron/Family’s “Until the Morning” is a sort of impressionistic take on the electro/folk/indie-pop tune. Engaging, in an odd way.
Brook Pridemore’s “Listening to TPM” video actually is impressionistic, as it’s shot in a style that roughly translates to the actual painting style. The song, reminiscent of latter-day Mountain Goats indie-pop, is also great.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.