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.
I’ve been posting singles and videos from Colony House since January, because their alt-rock had that anthemic edge which usually portends great things. And while “Keep On Keepin’ On,” “Silhouettes,” and “Waiting for My Time to Come” are great by themselves, they’re amazing when crammed together and packaged with 11 other great tunes on When I Was Younger.
“Moving Forward” is the sort of deep cut that bands realize is amazing late in the album’s cycle, haphazardly throw to radio, and manage to get a career-defining hit from (see “All These Things That I’ve Done” by the Killers). It has a jubilant riff that turns into a revelatory, shiver-inducing “whoa-oh” coda; that arching melody is the sort that Coldplay at its Viva La Vida finest was putting out. It’s the type I wear out the repeat button over.
“Waiting For My Time To Come” is still great in album version–more whoa-ohs, horns, and general good vibes. In other places Colony House echoes an amped-up Black Keys (“2:20″), the Killers, U2, Imagine Dragons, ’80s new-wave (“Roll With the Punches”), and more. Those influences might read like a derivative mess, but they sound like a eye-opening wonder. I haven’t heard anything this immediately engaging and potentially career-launching since I heard .fun’s Some Nights. And we all know how that turned out. If you like fun, cheery alt-rock-pop music, you’ll love Colony House.
Americo‘s style of rock would fit neatly in with Spoon: the rhythms, melodies, and instrumental performances fit together in a very tight, almost clockwork-like way. As a result, their recent release I is a tight, polished EP instead of a frantic, shoot-from-the-hip garage-rock set of tunes. “Stylized” doesn’t mean a lot in its dictionary definition, but the music-world connotations of restless aesthetes crafting and honing sounds seems to (mostly) fit here.
I say “mostly” because the duo also has laidback vibes as one of the core tenets of the sound. Opener “Blastin’ Off” has a stuttering strum and a liberal use of space as its calling cards, not giant guitar antics. (You have to wait for second track “Sled” for those.) “Slingshot” has a ’90s slackerish vibe in the way the chords lazily morph into each other; “Perfect World” relies on rim-clicks and jazzy vibes. This is a band that has both chops and restraint–most bands don’t even have one of those things. (Some of my favorite bands are just fine without either one.) They can even get a little weird and experimental if you’d like (“Prizes”).
Americo’s I shows off a well-developed songwriting sensibility that will appeal to fans of thoughtful rockers. The duo has made it clear that they can rock out and a lot of other things. That versatility could blossom into a particular style down the road, or they could stick with the Swiss Army Knife approach. Either way, I is commendable.
Depending on your interest in the genre, Brother O’ Brother is either carrying on the tradition of or thoroughly indebted to The White Stripes and The Black Keys. The guitar and drums duo rips through heavy blues rock stompers with screaming guitars, howling vocals, and basic drumming. The band’s self-titled record doesn’t let up for the 30+ minute runtime; there are no pop-friendly arena rock tunes or quirky acoustic ditties to break the mood. From the outraged opener “Without Love” to the last high-hat snap of “Mice & Men,” Chris Banta barrels, blasts, struts, strains, and powers his way through through riff-heavy tunes galore.
“Means to Be a Woman” is a highlight of the set. After its bluesy guitar intro reminiscent of the White Stripes, Banta lets his voice take most of the drama. He alternates between snarling speak-singing in the verses and outright howling in the chorus. If you’re into heavy guitars and moral indignation at how the media portrays women, you’ll be all over this tune. Throughout the album, Banta is interested in spiritual and moral themes; it gives another edge to the screaming guitars. Everyone needs some good righteous indignation over the injustices of the world now and then. If that sounds like a good time, Brother O’ Brother can hook you up.
I love punk, artsy electronica, even some post-hardcore now and then. But I’m always going to come back to the pristine simplicity of a solo voice over fingerpicked acoustic guitar. Cancellieri, hot on the heels of his excellent LP Welcome to Mount Pleasant, has given the world a whole album’s worth of gorgeous voice-and-guitar tracks. Winning my heart even more, eight of these fourteen tracks are covers. Closet Songs is wholly wonderful.
Ryan Cancellieri has a lot of things going for him on Closet Songs: he chooses covers excellently, he performs covers memorably, and writes songs of his own that stand up to the company of their peers. Let’s take these things in turn.
Closet Songs is put together like a good mixtape: some songs you absolutely don’t know, some you might know, a few you definitely know, at least one curveball to keep ‘em guessing. I hadn’t heard “I Love You But Goodbye” by Langhorne Slim or “Mama’s Eyes” by Justin Townes Earle, although I respect both of those guys as songwriters. The songs are great, and I thank Cancellieri for letting me know about them. You may have heard “Bella Donna” or “Famous Flower of Manhattan” if you’re more of a Avett Brothers fan than me. You’ve most likely heard “Green Eyes” by Coldplay and “Murder in the City” by the Avetts. Curveball? “Dreams Be Dreams” by Jack Johnson. (Whoa bro.) The best part about all of these is that they’re not just great songs, they’re great songs for Cancellieri.
One of the problems that people who choose covers run into is that they like songs that they can’t possibly perform, vocally or musically. That is not the case here, as Cancellieri adapts the songs to fit his range comfortably. These all sound very easy and fun for him; they’re pleasing to the ear and soul for that element. (Nothing worse to me than someone who sounds like they’re having no fun trying to cover something.) His version of “Mama’s Eyes” definitely retains elements of Earle’s delivery, but it feels real and true in Cancellieri’s voice. That’s the mark of a strong cover. He doesn’t try to copy the original; he tries to be faithful to it while making it his own. It’s a rare skill, and Cancellieri shows he has it.
Another problem of covers is that sometimes a cover is the best thing in a set. (Uh-oh.) This happens because, well, you’re covering an elite talent, and sometimes you aren’t that. However, Cancellieri is an elite talent, and his songs stack well against his covers. “Fortunate Peace” and “Zalo” had me checking to see who wrote them, because they’re just brilliant songs. Cancellieri carries his songwriting voice with the gravitas of someone who knows what they’re doing. This doesn’t mean that he’s brash and bold; these songs are humble, even sad in spots. But Cancellieri sounds fully in control of the guitar, his vocal range, and lyrics on these tunes, which is not something that can be said of many singer/songwriters. You want to test it? You can press play on the first track of the soundcloud and then go to a different tab. Try to guess which are his and which aren’t. You’ll be impressed.
Cancellieri’s Closet Songs is a beautiful, poised, mature offering. It plays like a good mixtape, and it sounds like a great album. This is one of my favorite singer/songwriter releases of the year so far. (With apologies to his own previous full-length!) You very much need to check out Closet Songs if you’re a fan of fingerpicking-heavy singer/songwriters like Justin Townes Earle and The Tallest Man on Earth. (Also Joe Pug, but not because of the fingerpicking.)
The line between indie-rock and Imagine Dragons-style pop-rock is not so far, sometimes–and if you’re a band that has previously flown their “U2 FAN” flag, maybe it’s not such a bad thing to be compared to pop hitmakers. Afterlife Parade is a indie-rock/pop-rock band that writes emotionally-charged anthems with huge choruses, whoa-oh sections, and verses that just sound like they belong there. AP’s sound is tight, polished, and fun on the three-song A Million Miles Away EP–what more could you want?
Opener “Break Away” does everything right to be a big hit: there’s a perky, bubbly opening riff, a yearning vocal line in the verse (a la Coldplay), a soaring vocal chorus hook, really strong crescendo layering throughout the song, and a culminating whoa-oh section. It’s pretty close to a perfect pop song, which is not a term I dole out liberally. “Break Away” should be in your life.
The other two tracks are similarly moving pop tunes. “Conquer It All” has a bit more of a confrontational vibe reminiscent of Needtobreathe and vocal melodies again reminiscent of Coldplay. The slow build of “A Million Miles Away” brings a more pensive, quiet side of the band to the forefront. They’re both really engaging tunes, but it’s hard to top the A+ that is “Break Away.”
Are you an unabashed fan of pop music? By all means, run/don’t walk to Afterlife Parade. If you’re a more undercover fan of the brasher charms, sidle your way on over. Just get there, because this is how it’s done, folks.
5. “Girls” – Slow Magic. Chillwave meets The Album Leaf meets Pogo. I APPROVE.
6. “Run Run Run” – Jenny Scheinman. Scheinman has a strong voice and a deft Americana songwriting touch. You won’t be able to ignore Scheinman much longer.
7. “Black Crow” – Juliette Jules. A voice mature beyond her years, songwriting beautiful beyond expectations, and production of excellent quality: Jules has everything working for her on this gorgeous, tender track.
8. “Wedding Day” – Anand Wilder and Maxwell Kardon. The lyrics grabbed me by the throat, and the folky/celebratory arrangement kept me involved. This is an impressive tune.
9. “Green Eyes” – Cancellieri. Originally by Coldplay, Cancellieri strips some of the pop sheen from this and gives it a romantic intimacy befitting the gorgeous lyrics.
10. “Is What It Is” – She Keeps Bees. This female-fronted singer/songwriter track is stately, composed, and elegant without becoming icy or distant. SKB creates great atmosphere here.
11. “Confederate Burial” – Snowblind Traveler. Snowblind Traveler matches up the icy arrangements of For Emma and the traditional melodies of old-school Americana to great effect.
12. “Blue Valentine” – Bloom. If you’re a fan of the sad but not hopeless sound that Pedro the Lion made, Bloom will scratch your itch for it with this beautiful track.
13. “Hold on to Your Breath” – Sleepy Tea. These Aussies live up to their name with a relaxing, refreshing vibe reminiscent of a slightly more energetic Parachutes-era Coldplay. Just a beautiful track.
SXSW is currently taking over the North American music world, but I’m not there this year. To deal with this sadness, I have largely ignored what’s going on out there in Austin. So here are a bunch of tracks by bands that may or may not be showcasing at SXSW.
1. “It Takes Over” – Dream Curtain. I like chillwave so much that I wrote an academic paper about it. Dream Curtain loves chillwave so much that the project keeps making hazy, woozy, reverb-heavy, summery slices of wonder.
2. “Strange Feeling” – Panama. The ’80s influence is strong with this one. Piano, synths, a move-your-feet beat? It’s all happening on this yacht, y’all.
3. “Mountain (Alternate Version)” – Driftwood Miracle. What was a churning, heavy emo track is transformed into a lounge-y, chilled-out track with wah guitar and silky keys. It’s suprisingly fun and only a bit cheesy.
4. “Conquer It All” – Afterlife Parade. U2 and Coldplay influences abound in this upbeat indie-rock track, but it’s far more enjoyable than Coldplay’s “Magic.”
5. “Clearhead Real” – Plateau Below. Starts out a chill, spare guitar-pop track, turns into a big ‘ol guitar-rock stomper. (Bonus: The album art is a striking representation of the sound.)
6. “Bad News” – Slinger Francisco. I listened to a lot of Tooth & Nail Records pop-rock in the early 2000s, and Slinger Francisco takes me back to those heady days of MAE and Watashi Wa. Pop-rock arrangements with an emo heart and pop-punk vocal melodies.
7. “Cruel to Be Kind” – The Worriers. Alternately sneering and jubilant, hyperkinetic Aussies The Worriers come off like a Southern Hemispheric answer to The Vaccines.
When I was in an art-rock band in high school, we managed to agree on only three cover songs in our four-year history: Coldplay’s “Parachutes,” Fall Out Boy’s “Dance Dance,” and “Hotel California.” (If you can figure out what those have in common, let me know.) My latest endeavor with the cover song was much more coherent, as I got 22 bands to contribute to a Postal Service covers album. I’m still incredibly thrilled with the final product, although I certainly do not want to run a similar project any time soon.
Folk-pop duo Jenny & Tyler, who were featured on Never Give Up, have put together their own covers album in For Freedom. As the title would suggest, the 7-song album is a project that benefits International Justice Mission‘s work to end slavery. Not only do you get their excellent arrangement skills, songs you love, and guest musicians (Sara Groves! JJ Heller! A virtual choir of hundreds of J&T fans!), you get to support justice in the world. What are you waiting for?
“We Will Become Silhouettes” is included here in remastered form, sounding even more gorgeous than before. It would easily be my favorite (and not just for sentimental value; the crescendo from beginning to end is heart-pounding) except for the absolutely stunning “I Still Haven’t Found What I’m Looking For.” Jenny & Tyler temper Bono’s original desperation with their warm, gentle arrangement skills, using oboe, clarinet, and cello to create an alternate vision of what that place we’re all looking for sounds like. If that wasn’t enough, they enlist the excellent Sara Groves and a choir of fans to guest vocal, creating a simply masterful take on the song. I could listen to this one all day.
They turn Smashing Pumpkins’ “Tonight, Tonight” from an angsty rager into a twee-pop tune, complete with glockenspiel. “The Sound of Silence” is suitably haunting, with their voices and clarinet (aside: I just love that they give the clarinet good press) giving a new tension to Simon & Garfunkel’s original. “The Scientist” includes a harpsichord/autoharp sound, but no piano; it’s an ambitious move that pays off.
Overall, Jenny & Tyler have set their unique and particular vision on these tracks, and that’s all that I ask from covers. The fact that the tunes are alternately heartbreaking and heart-pounding is a testament to the skill with which they can realize that vision. Highly recommended.
Nathan Felix is a bit of a staple at Independent Clauses: his band The Noise Revival (sometimes The Noise Revival Orchestra) made its first appearance at IC in early 2006 and has been in its pages ever since. Most recently, TNRO contributed a fully orchestrated version of “Brand New Colony” to Never Give Up. It’s his love of orchestras that propels this latest news clip: Felix, not content with having a rock band that is also kind of an orchestra, is composing directly for orchestras now. Along these lines, he was recently invited to the Levon Manukyan Collegium Musicum Summer Program for Emerging Composers in Bourgas, Bulgaria to record a new orchestral piece.
But he needs your help to get there! You can contribute via this page. He’s currently got about $3K more to go. Here’s a local news reel documenting Felix’s new-found love of composing:
They’re using IndieGoGo for the campaign, which closes at the end of the month. So far they’ve received $21,100 of their $60,000 goal. I jumped in the first day the project was open, because I believe in this project and really want this to happen. Check it out.
“Come Thou Fount”:
“Till Kingdom Come” (originally by Coldplay):
And more of that could be in the world. Let’s help make that happen.
Precise yet fluid, the clean electric guitar work of Coldplay’s debut album Parachutes was a hallmark, even though its smash “Yellow” was not a good depiction of the characteristic. The band abandoned the sound for piano-rock on its follow-up and hasn’t looked back, leaving a hole that Australians Sleepy Tea are finally starting to fill. It’s tough for me to hear opener “Make Believe” or closer “Ghosts” without thinking of how well they would fit on Parachutes. Thankfully, that’s a massive compliment from this corner, as I mean that Sleepy Tea’s debut The Place Where We Lay contains beautiful, lithe vocals that intertwine with immaculate arrangements which belie how much work it takes to make a perfect-sounding song.
“Make Believe” establishes the mood of the five-song EP right off the bat, with an easygoing confidence in the gently swaying arrangement of tasteful drums, burbling atmospherics, and spot-on vocal performance that calls to mind a theoretical male-fronted version of Braids. It’s a rare tune that catches my attention like this one. The rest of the EP lives up to the billing, whether the tense juxtaposition of energetic trip-hop drumming and pensive piano in “At World’s End” or the towering crescendo throughout the entirety of “Safer.” This is a band with a tightly constructed idea of what it wants to sound like, and that’s rarely a bad thing. Sleepy Tea has chops and taste, so I look forward to much more from them.
I’ve written before about running out of band names, but if I hadn’t, Here Is Your Temple would be a good reason to question whether or not all the good band names have already been taken. Besides the name, though, HIYT are worthy of discussion for the quality of their music: The Swedish quintet plays music that sounds like all of Spiritualized’s discography jammed together onto one EP. Opener and title track “So High” is a propulsive piece marked by a marching rhythm, fuzzed-out bass, a choir, and synths. It’s like something that might appear on Ladies and Gentlemen, We Are Floating In Space. “Big Way” is built on a dominating guitar riff and synthesized vocals, which also sounds like Ladies and Gentlemen. “Once Rich” is a quieter tune, pairing the omnipresent synths with downtempo acoustic guitar (as in J. Spaceman’s Amazing Grace era), while “Say Hey” adds an optimistic edge to the acoustic sound. It’s a very varied EP.
The one thing that holds the sound together is HIYT’s commitment to melody; all of these songs hinge on either a vocal or guitar melody that is punched way up in the mix. Whether creating Fleetwood Mac-esque mystery (“Say Hey”) or rock’n’roll (of a sort), the band zeros in on melody. And that’s what keeps this wildly varied EP from being disjointed: their melodic center remains true, showing off a band with many facets. If you’re into synth-rock or synth-pop without cheesiness, So High should be in your ears.
I love doing long reviews, but SXSW has thrown me off my game. To catch up, here’s a rare quartet of quick hits.
Dana Falconberry‘s four-song Though I Didn’t Call It Came is a beautiful, immersing release. The thirteen minutes pass rapidly, as Falconberry’s uniquely interesting voice plays over intricate yet intimate acoustic arrangements. Highlights include the complex and beautiful songwriting structure of “Petoskey Stone,” the Michigan-era Sufjan Stevens fragility of “Muskegon,” and the casual wonder of whistling-led closer “Maple Leaf Red (Acoustic).” It’s a rare songwriter that has tight control over both individual songwriting elements and overall feel, marking Falconberry as one to enjoy now and watch in the future.
England in 1819‘s Alma will quickly remind listeners of British piano-rock bands: Rush of Blood to the Head-era Coldplay is checked on “Air That We Once Breathed,” Muse gets its nod in the title track, and the melodic focus of Keane is familiar throughout. But 2/3rds of the band is conservatory-trained, and those influences show. “Littil Battur” is a chiming, gently swelling post-rock piece with reminiscent of The Album Leaf; “Emily Jane” is another beautiful, wordless, free-flowing piece. There’s enjoyment in their emotive piano-pop, but there’s magic in their instrumental aspirations. That tension shows promise past this sophomore release.
The bouncy garage-pop of Eux Autres‘ Sun is Sunk EP has been honed for almost a decade to a tight mix of modern sensibilities and historic glee. “Right Again” and “Home Tonight” call up ’60s girl-pop groups but don’t overdo it; “Ring Out” features male lead vocals in a perky, jumpy, infectious tune that includes bells and tambourine. The 1:23 of “Call It Off” is thoroughly modern songwriting, though—the band is no one trick pony. There’s just no resisting the charms of Sun is Sunk, and since its six songs only ask for 15 minutes of your time, why would you?
After seeing part of a breathtaking set by Sharon Van Etten at SXSW 2011, I jumped at the chance to give some press for her new album Tramp. Turns out all the big hitters (NPR, Pitchfork, Paste) are already on it. The tunes powered by Van Etten’s emotive croon are in full form, developed from her sparse beginnings into complete arrangements. At 46 minutes, this mature version of Van Etten is a complete vision; still, the haunting, delicate closer “Joke or a Lie” is what sticks with me.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.