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. “Galatians 2:20” – The Welcome Wagon. TWW is almost genetically engineered specifically to be a perfect fit with my musical tastes: acoustic-based indie-pop married duo inspired to start a band by Sufjan Stevens who sing humble yet joyfully melodic tunes (often with many voices) whose lyrics are sometimes entirely Bible verses (as in this one). I love it all. If you do too, hit up their Kickstarter.
2. “Be My Girl” – Anna Lee Warren. Warren’s strong, clear alto voice is the centerpiece of this vocal/ukulele/stand-up bass/shaker piece, and it shines bright.
3. “The Swells” – Second Husband. A joyful little ditty about (potentially metaphorically) being eaten by a shark that includes a very Juno-esque flute solo and overall attitude.
4. “When I Arrive” – Bryan Diver. Somewhere between Needtobreathe and Josh Garrels lies this high-drama folk tune with an arresting chorus.
5. “Cold Fact” – I Have a Tribe. Gentle trembling at the top of some vocal notes gives a sense of a particular type of intimacy; not theatrical but not entirely restrained either. Just honest, in a certain way. There’s a very European precision about the spacious indie-pop arrangement here.
6. “Uncomfortably Numb” – i.am.hologram. A hypnotic acoustic guitar line that sounds more like a sitar than a six-string anchors this song. Nihil’s barely contained, sneering voice provides an astute counterpoint to the instrumental base.*
7. “Over You” – Pony Hunt. A vintage walking-speed country loll, but fronted by a clear-eyed alto voice, doo-wop background vocals, and delicate–even sweet–pedal steel.
8. “Eggs and Toast” – Redvers Bailey. This charming, quirky, jubilant ode to breakfast food reminds me of the melody of the Boss’s “Dancing in the Dark.” Pretty much everything else possible is different.
9. “Stay a Little Longer” – Knaan Shabtay. Passenger’s vocal style meets a sped-up version of Josh Radin’s delicate intricacies in a charming, engaging tune.
10. “dirt” – Andrea Silva. It’s amazing how arresting a subtle voice, a guitar, and reverb can be.
11. “Used to Be” – Luca Fogale. A dreamy, lovely tune about running out of nostalgia that nonetheless has a deep sense of memory running through it.
12. “Settle Down” – Dark Mean. Jason Molina and Bonnie Prince Billy would approve of this moving, slowly-unfolding tune constructed of simple elements that are imbued with huge emotional importance.
13. “The Thrill of Loneliness” – Honey Stretton. Goes hard for the pastoral feel: a burbling brook, various animal/insect noises, and the hiss of the outdoors accompany a meandering guitar and a fluttering female vocal. You’ll probably want to walk outside after hearing this–it won’t be as pretty as the sonic picture (unless you’re very lucky locationally).
14. “UURKIDNI” – Emily & the Complexes. Most of E&tC’s work is distortion heavy indie-rock, a la Silversun Pickups and the like. But this is a gentle yet sturdy love song of just an acoustic guitar, even-handed vocals, and atypical lyrics that draw me in. Stunning.
*Full disclosure: i.am.hologram’s PR contact recently began writing for Independent Clauses. This happened after selection of this song for coverage and did not affect the selection of the song.
1. “New Moon” – Namesayers. The lead guitar here is angular, cranky, and brittle, contrasting against the swirling, low-key psychedelia laid down by the rest of instruments and Devin James Fry’s mystical croon. It makes for an intriguing rock that sounds like midnight in the desert with a big bonfire going. (Which is pretty much what the title and the album art convey, so this one has its imagery and soundscapes really tight in line.)
2. “O Zephyr” – Ptarmigan. It’s tough to be a serious alt-folk band without sounding over-earnest or overly ironic. Ptarmigan finds the perfect center, where it sounds like a bunch of people who love folk and have something to say are making their noise how they want. Fans of River Whyless, Fleet Foxes (often violators of the over-earnest, but nonetheless), and Barr Brothers will enjoy this.
3. “Axolotl” – Lord Buffalo. Lord Buffalo specializes in primal, pounding, apocalyptic pieces that build from small beginnings to terrifying heights. This is an A+ example of the form.
4. “A Miracle Mile” – St. Anthony and the Mystery Train. Equally apocalyptic as above, but in a more Southern Gothic, Nick Cave, howl-and-clatter style of indie-rock than the all-out-sonic assault. A wild ride.
5. “Spring” – Trevor Ransom. A tone-poem of a piece, illustrating the arrival of spring with found sounds, distant vocals, and confident piano.
6. “Not Enough” – Sunjacket. This inventive indie-rock song draws sounds and moods from all over the place, creating a distinct, unique vibe. There’s some Age of Adz weirdness, some Grizzly Bear denseness, some giant synth clouds, and more.
7. “Bushwick Girl” – CHUCK. A goofy, loving parody of NYC’s hippest hipsters in appropriately creaky, nasally, quirky indie-pop style.
8. “Ghost” – Mood Robot. Chillwave meets ODESZA-style post-dub with some pop v/c/v work for good measure. It’s a great little electro-pop tune.
9. “Da Vinci” – Jaw Gems. All the swagger, strut, stutter, and stomp of hip-hop and none of the vocals. Impressive.
10. “Disappearing Love” – Night Drifting. If the National’s high drama met the Boss’s roots rock, you’d end up with something like this charging tune with a huge conclusion.
11. “Black and White Space” – Delamere. Britpop from Manchester with a catchy vocal hook and subtle instrumentation that comes together really nicely.
12. “Plastic Flowers” – Poomse. Predictions of human doom over crunchy guitars give way to a densely-layered indie-rock track with claustrophobia-inducing horns. If you’re into Mutemath or early ’00s emo (non-twinkly variety), you’ll find some footholds here.
13. “Lake, Steel, Oil” – Basement Revolver. There’s something hypnotic about Chrisy Hurn plaintively singing her heart out as if there isn’t a howling wall of distortion raging around her.
1. “Firefly” – Brave Bones. The vocal enthusiasm of folk-punk bands bolted onto the hypercharged alt-country of The Old ’97s? Sign me up.
2. “The Pilot and the Flying Machine: Part Two” – Ben Bedford. The hardest thing about being a blogger is the X factor. What makes a song good? Sometimes you can break it down to a guitar line, a vocal line, an auxiliary instrument, the lyrics, or the overall mood. Sometimes we throw a RIYL band at it to help you figure out whose X factor this band’s is most like. But not this time. Bedford brings it all together here for an excellent acoustic tune that stands on its own, no comparison artists needed.
3. “Whispers of the Night” – Rowan McGuire. The intricate, delayed guitarwork here is totally mesmerizing.
4. “Thunder Road” – Adam Hanna and The Class of ’18. I’m of the opinion that doing any cover well is hard, and covering iconic tunes is exponentially harder. Hanna successfully reinterprets the Boss in an acoustic vein by delivering a solid vocal performance and choosing good instrumentalists. He doesn’t try to thoroughly reinvent it (a smart move), and the results are good.
5. “Smells Like Teen Spirit” – Freedom Fry. This band chooses the “completely reinvent” method of covering an iconic song, turning the monumental grunge tune into a major-key indie-pop jaunt with reggae rhythms. You have never heard “Teen Spirit” like this before. Mad props.
7. “Inside Your Heart” – The Two Romans. Or if you’re not down for tropical vibes, maybe you can go for ecstatic hoedown folk, Twin Forks-style. This is the sort of song that makes you why we liked this type of song in the first place, before a lot of people got all folk’ed out.
8. “Hattie Barlow” – Jack Hotel. If you drew a triangle with bluegrass, old timey music, and modern folk-pop at the corners, you’d find Jack Hotel in the middle. Those who like their folk with lots of fiddle sawing, banjo rolling, and acoustic strumming will be into this. Alternately, if “holler” is a positive term to you, also apply within.
9. “Fiery Eyes” – Prinz Grizzley. “Prinz Grizzley” is a name for a TV show host, a rapper, or a country singer–we got the last one. The horns in this song bring a memorably bouncy enthusiasm to this mid-tempo alt-country jaunt.
10. “White Lies” – Darryl Rahn. Sometimes I want to write “It’s just really good” and leave it at that, but I suppose you want me to tell you that the vocals sound like Brett Dennen reappropriated into a sped-up Rocky Votolato song. Or you could go with “It’s just really good.” Either way.
11. “Wounded Wing” – The Duke Spirit. This ballad-esque song seems like it was written for maximum gravitas: heavy piano, distant atmospherics, solemn alto vocals, and a Mark Lanegan guest spot. Rad.
12. “I’m Not This Layer of Skin” – Yvonne McDonnell. It successfully combines ancient and modern: A brash vocal style with traces of traditional British folk tone leads this emotionally engaging fingerpicked folk tune that features melodies equally reminiscent of the UK’s traditions.
13. “Leave” – Sea Offs. A tone poem of a song, floating beautifully off in the distance, making me carefully reconsider my surroundings, like the most freeflowing moments of Bowerbirds.
Hubbard has a smooth tenor voice that hits like a Midwestern Jason Isbell or Adam Duritz (of the Counting Crows)–the sort of lithe, confident voice that uses vibrato and other flourishes to display tension and emotion easily. “February” and “More I Live, Less I Know” are incredible vocal performances that are both seemingly effortless and also weighted down with the tension of years of woe. (Relatedly, these tunes have a kindred spirit with Bruce Springsteen’s work, both musically and lyrically–check “She Gives It Everything” for more proof.)
Musically Hubbard is a pro–the songwriting here is tight, the arrangements are impeccable, and the songs seem to roll off his guitar. The pickin’-and-grinnin’ “Straw Hat,” the Civil Wars-style ballad “Tired of Loving You,” and the Dawes-esque roots-rock tune “Come Tomorrow” are confident entries in their respective songwriting veins, despite being different from each other in a variety of ways. “And The Music” is the quiet end of his sonic spectrum, as stand-up bass thrums imperially to underpin a gently tumbling fingerpicking pattern and Hubbard’s most memorable vocal melodies of the record. The coda of the tune is the sort of melody that people latch on to and don’t forget, a “Ho Hey” for people ten years later.
That lyric that accompanies the indelible melody is representative of the lyrics throughout: “I remember when God left / and the angels left / and you were there / you were there.” The world-weariness, questioning of religion, and hope in relationships (in this case, an old friend) to get us through are all over the record. Whether you agree with his conclusions or not, the lyrics push hard on the way the world is, could be, and perhaps should be. That’s the sort of lyrics I want to hear.
Hubbard’s self-titled record is a confident record of folk-rock from a veteran of the genre. It shows in strong songwriting, well-developed lyrics, and an overall sense that Hubbard was really going for it on this one. Dan Hubbard should be on your to-hear list.
I have honestly never been a big fan of Bruce Springsteen. Although he very much came to symbolize everything that’s great about being “born in the USA,” his voice always seemed too scratchy. I felt like he was always just yelling. That is what makes Moa Holmsten’s primarily electronic reworking of Springsteen so refreshing–Broken Arms & Broken Rhythm takes Springsteen’s rich lyrics and rhythms but leaves the scratchy voice behind.
Although Holmsten does utilize some of Springsteen’s well-known rhythms, the songs of Broken Arms & Broken Rhythm sound almost unrecognizable to their originals. Growing up in Philadelphia, there was always a high probability that the next song on the radio would be a Springsteen song. And although I have already expressed my distaste for his voice, those catchy lyrics and rhythms at times have stopped me from turning to another station. Holmsten took everything that was great about Springsteen and added her own flair. For example, Holmsten weaves in the well-known rhythms of “Dancing In The Dark” and “Born To Run” to her otherwise unique accompaniment. Springsteen’s most circulated track, “Born In The USA,” sounds nothing like the original, in fact: it eventually falls apart and ends abruptly– leaving it to be only a minute long.
Even though Holmsten weaved the Springsteen rhythms into “Dancing In the Dark” and “Born To Run,” that doesn’t mean they sound very similar at all to their originals. “Dancing In The Dark” actually begins with a rather industrial electronic beat and continues to pulse throughout the song. As the track continues, more instruments join in with the beat along with added background vocals. “Dancing In The Dark” sounds similar to Springsteen’s in its rhythms but the industrial instrumentation makes the song darker than the original. With “Born To Run,” Holmsten took quite a different angle. Setting the foundation for a much lighter sound, ethereal ahh’s open up the track alongside organ accompaniment. The notable riff of “Born To Run” gets a heavenly makeover in this version as well, utilizing strings and a piano to replace the rock and roll instruments.
Holmsten’s voice is a much preferred replacement for Bruce Springsteen’s. In songs like the album’s opener “Highway 29,” Holmsten’s voice sounds sweet, subtle and even a bit raspy (soulful raspy, not at all in the abrasive Springsteen kind of way). In tracks like “Badlands,” Holmsten’s voice echos more of a jazzy, blue-eyed soul feel akin to Adele and the late Amy Winehouse. And finally, her voice transforms once more in “Born To Run” and “Soul Driver,” where she draws out her words, sounding eerily similar to Lorde. Holmsten has this uncanny ability to adapt her voice to the vibe of her Springsteen adaptations.
The overall vibe of Broken Arms & Broken Rhythm differs from song to song. Some tracks echo the industrial feel of “Dancing in the Dark,” while others are more light and whimsical like “Born To Run.” What truly ties the album together is how the tracks echo Springsteen while updating him to fit the times. Moa Holmsten accomplished a rather brilliant task with this album– she redeemed Bruce for me. –Krisann Janowitz
I’ve been listening to Josh Caress for almost a decade now, through dozens of mentions on this blog, half a dozen albums, and two Kickstarter campaigns (his own for Come On Pilgrim! and mine for the Never Give Up project). Caress’ Little Lights is the sonic culmination of the last ten years that Caress has invested in creating lush, gorgeous work.
New listeners can jump in right here at Little Lights and experience an incredible album of beautifully-arranged indie-pop/singer-songwriter work–“When I Drove Across the Country” is as moving an 11 minutes as you could hope to hear. But for those who’ve been tracking with Caress’ catalog, there’s a wealth of connections, tip-offs, and tributes to ponder. “When I Drove” is the chronological and emotional centerpiece of the record, a sweeping travelogue that calls to mind the lyrics of Josh Caress Goes on an Adventure. The sonic palette is a wide-screen, romantic reading of the night sky that updates the template of the magnificent Letting Go of a Dream with crisper production and instrumentation while still creating great clouds of sound. That template is overlaid with digital blips called out of Perestroika, which lend an extra level of depth to the landscape. The central lyrical image of the travelogue is actually a domestic scene of the narrator having breakfast with his young son instead of being out on the road–shades of the family life present in The Rockford Files.
All of that comes together in one deeply affecting 11-minute opus that successfully pushes the bounds of what Caress is capable of. The arrangement is complex over the life of the song, building and fading out to emphasize elements: the central moment is delivered by just an acoustic guitar and Caress’ reverb-laden voice, before the song slowly grows back to a pivotal lyrical conclusion and long instrumental outro. The guitars, vocals, strings, synths, and piano that swirl their way through this tune are all played with a sophisticated, fine-tuned hand–the result is nothing less than stunning. There are songs before and after “When I Drove Across the Country,” but they all point to and lead away from this tune. “To Be Strong” is more overtly dramatic, while the title track is potentially more tightly arranged with the same instruments. But neither of those have such a strong synergy of lyrics, melodies, and arrangement. It’s a tour de force, especially if you’ve unwittingly watched it coming for a decade.
The only tune that gives “When I Drove Across the Country” a run for its money is its follow-up track (and polar opposite) “Feelings of Loss and Rejection (Are Not What You Think They Are).” Caress has never been afraid of using plain language for big emotions–where he delves deep into wordplay and scene-painting in “When I Drove,” he prefers to lay it out plain in this one: “I know it’s real / and I know it hurts / I know the suffering / I know what it’s worth.” The fact that the word “worth” connects with the word “cost” that appears in a critical soul-searching moment of “When I Drove” makes it even better. If you need some catharsis, Caress has some for you with this tune.
And not just lyrically, either–“Feelings of Loss and Rejection (Are Not What You Think They Are)” is a triumphant, jubilant indie-rock tune that makes me think of Bruce Springsteen leading The Arcade Fire (and recalls the full band sound of Perestroika). Starting with thumping toms and a great electric guitar line, the song bursts into snare rolls and synth licks, great ideas just stacked on top of great ideas. It’s a testament to a decade of songwriting that this doesn’t descend into chaos. Instead, it ratchets up to a hair-raising, spine-tingling moment when Caress howls out “Come up to the mountain! / Would you offer me the world?” over an all-out tempest. It’s the sort of thing that I didn’t know I wanted until I heard it, and then I couldn’t get enough. It’s the sort of thing I want to start getting hyperbolic about.
After the one-two punch of “When I Drove Across the Country” and “Feelings of Loss and Rejection (Are Not What You Think They Are),” the rest of album keeps the quality high. “Interlude (Across the Whole Desert Sky)” is particularly notable for introducing some weird arpeggiator effects that keep a mysterious edge to the album. “I Won’t Get This Low Again” is a highway rock song with some serious ’80s vibes going on. The intro and outro (a thing I deeply love from Letting Go of a Dream) set the scene beautifully. It’s just an incredible album.
Little Lights is the type of album we don’t get that often anymore: the album that is designed to be heard all in one sitting and (essentially) all as one song. There are almost no gaps in sound–this is a “through-composed” record, where each song blends into the next. As a result, it’s thoroughly cohesive musically and lyrically. (The lyrics seem to be a long goodbye to “all that” and a hello to a new life.) When we critics say something is a statement, we often mean that the effort expended is extraordinary and that the results are a calling card. Little Lights is a statement of a different type: it actually has something to say, musically and lyrically. It’s a rare treat to hear an artist on top of their game: check out Little Lights to get the experience. —Stephen Carradini
1. “Dark” – Birds of Night. Dark is the massively impressive synthesis of Springsteen’s road-readiness, Arcade Fire’s sweeping drama, and The Walkmen’s trebly guitars and keening vocals. This is an impressive rock tune.
2. “Cooler” – Sancho. Why does some Weezer-esque rock push my emotional buttons and others not? I have no idea. But I heard the guitars, the vocals, and the start-stop moment that clinches the thing in this song, and I just got all mushy inside.
3. “Warrior” – SATE. If this jet-fueled, towering-guitar rocker doesn’t get your blood moving, I don’t know what will. There’s enough soul, sass, and vocal theatrics in this track to power four or five lesser tunes.
4. “Legend” – Parlement. If the sound of summer is a big, fat Queens of the Stone Age guitar riff, Parlement has a song for you. The straightforward, stomping rhythms are about as far from that other Parliament as you can be.
5. “I’m Dying on the Square” – Break the Bans. Thrashy, hoarse-throated protest punk from a Russian national that starts out with spoken words clips (that I can only assume are political/news clips)? This is pretty much what punk is for, y’all.
6. “Modern Phenomenon” – Northern American. Big, comforting synths welded to a downtempo rock song that sounds like it’s been through the Radiohead/The National/Bloc Party school of music.
7. “Optimists” – Mittenfields. Glammy, theatrical vocals can make anything sound more glam than it is–Mittenfields is laying down the rock, though. Check that sweet guitar solo.
8. “Mirror North” – Whoop-szo. Starts out all quiet and ponderous, but it ratchets up to a brittle, abrasive post-metal roar pretty quickly. If you’re into soft/loud/soft, jump on it.
9. “Cowboy Guilt” – Torres. The clear winner of SXSW this year, Torres was unknown to me before the event and absolutely everywhere afterwards. This tune, which deftly balances a minor-key gravitas and quirky melodic capriciousness, shows why she’s the big thing in indie-rock right now.
The Weather Machine‘s self-titled record was a marvel powered by inventive folk-inspired acoustic songwriting, deft lyrics, and an earnest DIY sheen. The “hyper-literate story songs and Dylan-esque prophetic jams” of their 2013 release are still present in Peach, but they’re tucked inside a new-found appreciation for Americana rock. Peach‘s focus is squarely on the sounds that The Weather Machine is able to wring from a well-rounded quintet, and this results in new charms.
But before I start detailing the changes, let me not get too carried away. Peach is still The Weather Machine’s doing. The ominous “Lilium” is right there with “Skeleton Jack” and “Alexei Mikhail.” The jaunty folk of “Some Evenings Are for Dancing” has the same wonderful tension between wry and passionate that characterized so much of their previous release. Okay, so, there’s a little more electric guitar, and it’s not “So, what exactly does it say?” (To paraphrase the genius’ refrain: “But what is?”) There’s still enough acoustic work to appease fans of that which was–and I am one of them.
So, about that electric guitar. The Weather Machine is now very firmly a rock band (among other things), because you can’t write a Springsteen-esque rock song as good as “Wannabe Cowboys” and not at least throw -rock on the end of your genre. There’s a cello* swooping its way through the track, but it’s not a folk-rock tune in the same way that The Low Anthem occasionally makes folk-rock. This is not a rocked-out folk tune: this is a rock song that has some folk instruments in it. The distinction is important for tunes like the super-fun “As Long as We Get Along,” because there’s more screamin’ guitar in that tune than you could possibly expect from a folk outfit. But it still has cello running all through it. It’s a tension–something The Weather Machine is good at.
Even though tension is their forte, they’re making steps toward integration: “Wild West Coast” and “How to Get to Roseburg” are the minor and major key exemplars, respectively, of melding the ideals and instrumentaion of folk and rock on this record. “Wild West Coast” is a low-slung tune that calls up some “The National lost in Arizona” thoughts, while “Roseburg” fuses hyperactive drums and insistent bass to a string-led hoedown stomp.
But right when you think you’ve got them figured out, the title track includes feathery arpeggiators, dreamy bossa nova vibes, and prominent acoustic fingerpicking in a track that sounds like Braids ft. Josh Ritter. (And what a track that would be.) “Breakup Song” and “MC vs. The Digital Age” are as theatrical as a good show tune should be. Things are happening on this record, y’all.
Peach is a record that expands on the template set out by their self-titled record, pushing them in all sorts of directions. Purists need not apply, but those who are interested in what else creative minds* have up their sleeves will enjoy the record immensely.
*correction: originally written as “violin.” It’s way high, though.
**correction: originally written as “the minds that set steel drums in a folk tune.” Apparently the thing that sounds like steel drums is also a cello. I’m as surprised as you are.
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.