1. “Inside Your Heart” – Hectorina. This track manages to make the lovechild of Prince, James Brown, and a garage-rock band sound like a fine, upstanding individual. Also there’s a choir at the end. Need I say more?
2. “Other Kids” – Mighty. Yawping, hectic, mile-a-minute, ideas-everywhere garage rock that sounds as wild and wide-open as the youth that it so clearly evokes.
3. “The Runner” – Mountains Like Wax. As a fan of the Mountain Goats, I am a bit of a connoisseur of enthusiastic yelps. (John Darnielle actually remarks on the quality of his own yelps in the All Hail West Texas re-release liner notes.) I must say that the scream at 4:51 that turns this slow burner into a post-rock thrasher is an exquisite example of the enthusiastic yelp. I believe it when it happens. That’s rare. The rest of the band puts all they’ve got into it too, but man. That scream.
4. “Her” – The Oswalds. I love an ambitious tune. This one zigs and zags all over the place, moving from garage rock to strict-rhythm indie-rock to acoustic sections to a fractured, crazy guitar solo and then through it all again. The panning is all over the place, adding to the chaotic-yet-controlled feel. You feeling adventurous?
5. “Haunted House” – Ancient Cities. Gotta love an indie rock track that uses the piano as its driving force: check how they use it to escalate the intensity of the song instead of the guitar.
6. “Pressure” – Down Boy. Will a heavy, scuzzed-out guitar and thrashing drums duo ever get old? Not yet, at least: Down Boy makes my feet want to move and my head want to rock.
7. “Anime” – Debris of Titan. You know how Pogo makes these fluttery, wide-eyed electronic burbles? Debris of Titan makes that sort of music in a chill psych-rock vein. I don’t get a lot of psych-rock, but I know intuitively how to jam to this.
8. “Big Sky” – The Pressure Kids. Straight-up-and-down indie rock that draws off elements of Young the Giant, Spoon, and other people that manage to make mid-tempo sound intense.
9. “Denim” – Brave Town. This guitar-fronted pop-rock tune has arena aesthetics (if not aspirations) and hooks to match, reminding me of Colony House (similar) and Arctic Monkeys (less so, but it’s totally there).
10. “Not That Easy” – Lime Cordiale. Some songs just sound like they belong on the radio: this fusion of pop-rock and electronica fits right in the zeitgeist (or maybe we’re just past it?). Either way, this tune is great.
11. “Alright” – Lemmo. Sometimes a chorus just hooks me and I can’t turn away.
12. “Deerhunter” – Ghost of You. Tight groove, attractive arrangement, solid vocals: indie rock gold.
13. “The Road” – DB Cooper. Noisy-yet-slick pop-rock a la Fall Out Boy and the like, with vocals reminiscent of All American Rejects. It’s the sort of catchy chorus and fist-pumping drive that people who love nuanced indie pop secretly love.
14. “Goddess of the Sun” – Postcards from Jeff. Manages to work a flute into the rock part of an indie-pop to indie rock transitional track. Mad props. This one could fit great in any number of indie movie soundtracks.
The Gray Havens are back with a new Kickstarter project! The folk-pop duo is creating a new EP with Ben Shive, who has worked with Andrew Peterson, Ellie Holcomb, and IC faves Colony House and Son of Laughter. Shive seems to always turn out earthy, “real”-sounding recordings; paired with the Gray Havens’ dramatic, tension-filled songwriting, the results should be impressive. Check their video below.
1. “Run With Me” – Heather LaRose. A great pop song that has that Imagine Dragons / Magic Giant / Lumineers type of enthusiasm tinged with minor-key drama. You’ll be humming this one.
2. “New Minuits” – Tri-State. This low-slung rock tune escaped from some preternaturally chill realm: it’s smart, cool, moody, lyrically clever and vocally impressive without breaking a sweat.
3. “Nothing to Say” – WOOF. THAT BASS LINE. (Also, this a burbling, frenetic, arpeggiator-decorated mid-’00s indie-pop-rock tune. Tokyo Police Club would be proud.) SERIOUSLY THOUGH. THAT BASS.
4. “Take Me To a Party” – Sweet Spirit. “I’ve got a broken heart / so take me to a party” hollers the lead female vocalist over energetic, fractured rock music that sounds suitably unhinged.
5. “Corduroy” – Redcast. Gosh, there’s just something irresistible about a fresh-faced, clean-scrubbed pop-rock group with equal parts Beatles, twee indie-pop, and The Cars references.
6. “Soldiers” – Swim Season. Everything about this track makes way more success when you realize that it’s about to be summer in the band’s native Australia. This summery electro-rock jam slinks, sways and swaggers its way into your ears.
7. “Movies” – Captain Kudzu. Meticulous slacker pop seems like a paradox, but Captain Kudzu’s carefully crafted tune here sounds excellently like it’s not trying too hard. Foresty, moody vibes track with the easiness, making it an intriguing song.
8. “Captive” – WYLDR. Temper Trap + Passion Pit + a dash of Colony House = radio gold.
9. “Every Day” – Dream Culture. Here’s a funky psych-rock nugget with one foot firmly in the ’70s and one in outer space. The tension between grounded riffing and free-floating atmosphere pulls at each other in all the right ways.
10. “Hey Little League” – Michael Daughtry. John Mayer’s suave alt-pop touch collides with some tight ’90s pop-rock vibes to turn out this tune.
11. “Time to Share” – Model Village. Grows from a delicate pop tune to a surprising, swirling post-disco tune without ever losing a gentle touch.
12. “You Have Saved Our Lives, We Are Eternally Grateful” – Wovoka Gentle. Chiming voices float over shape-shifting synths, bouncy guitars, and an overall joyous mood. It’s kind of like a female-fronted Freelance Whales, only weirder in the best possible way.
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’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.
Colony House has impressed me repeatedly in the short time they’ve been around, but this takes the cake. They’ve made the studio video (which I am usually bored by) into something exciting and vibrant. It helps that “Waiting For My Time to Come” is an excellent tune that combines U2 melodies with low-slung roots-rock precision, then throws some horns and a choir of friends at it. They won’t have to wait much longer with songs like this one. Can we get NeedtoBreathe on the phone?
Amy Correia is still incredible, just in case you had forgotten. This live cut of “City Girl” is way fun. Also, note that she’s playing a tenor ukulele slung like a punk rock guitar.
Kylie Odetta has pipes similar to Adele and lyrics like Lady Gaga, making this a pretty appealing piano-and-vocals performance.
I’ve been behind on MP3s and videos, so there’s going to be a lot of them posted in the next few days in addition to album reviews. I’m breaking my “one post a day” rule, but I’ll get back there shortly enough.
Fun in the Sun
1. “Bring You Down” – Ships Have Sailed. Oh man, remember early 2000s indie pop-rock? Like Watashi Wa and stuff? The bright-eyed sound, the self-abasing lyrics, the high harmonies, the twinkly guitars? It’s all here. I can’t help but love this song entirely. That lead riff is just so great.
2. “Bitter Branches” – Static in Verona. I’ve always got room in my heart for a pulse-pounding, towering power-pop song. This one features high, melodic, non-aggressive vocals. It’ll be in your head for a while.
3. “Silhouettes” – Colony House. Are you looking for a fun, upbeat rock track to blast in a car? Here’s my pick for this week.
4. “Boulders” – Dear Blanca. Dear Blanca’s Talker was one of my favorite records of 2013, so it’s thrilling to hear the noisy folk/rock band back with an even tighter sound and lyrical sense. Can we get this band on tour with Conor Oberst already? Please and thank you.
5. “Figure Eight” – Pageant. Peppy acoustic guitars get kicked into overdrive by electric organ and hyperactive drums, turning a folky/poppy tune into a charging pop-rock tune. Fresh, tight, and fun.
6. “Insults and Polemics” – Wall-Eyed. I bet you’ve never head a punk band mashed up with a Norteño band. I bet you’ve never heard a Norteño band. I bet you’re really going to like it.
8. “Come Up and See” – Tree Dwellers. Instrumental hip-hop with an acoustic bent: we’ve got acoustic guitars, cello, and Spanish guitar vibes going on here. Totally cool.
9. “Could Be Real” – Diners. Lazy, chilled-out, but not chillwave, this acoustic (but not folk!) band carves out the hardest space: the space that’s always been there. This is pop music, for real.
10. “Licorice the Dog” – Kye Alfred Hillig. Hillig has been on a songwriting bender lately, pushing the bounds of prolific by doing all of his songwriting in vastly different genres. “Licorice” sees him return to his hometown of intimate singer/songwriter music with great results.