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
This project has been a microcosm of my whole 10 years running this blog: a little idea that got bigger and bigger with help from all sorts of people who pitched in. Massive thanks go out to The Carradini Family, Uncle David and Aunt Rose, the Lubbers Family, Neil Sabatino & Mint 400 Records, Albert & Katy, Drew Shahan, Odysseus, Joseph Carradini, Jeffrey M. Hinton, Esq., @codybrom a.k.a Xpress-O, Conner ‘Raconteur’ Ferguson, Janelle Ghana Whitehead, Tyler “sk” Robinson, Jake Grant, Anat Earon, Zack Lapinski, Mila, Tom & April Graney, Stephen Carradini, Theo Webb, Jesse C, D. G. Ross, Martin & Skadi, Jacob Presson, Michelle Bui, and Elle Knop.
The first 200 downloads of the album are free, so go get ’em while they’re available! (The price is $4 a side once the freebies are gone.) The streaming will always be free, so if nothing else you can go listen to some sweet tunes from some of Independent Clauses’ favorite bands. Once again, thanks to all who contributed in any way, both to the project and to Independent Clauses’ last 10 years. It’s been a thrilling, wild ride.
Never Give Up: Celebrating 10 Years of the Postal Service
Independent Clauses’ 10th birthday is coming up, and we promised loyal IC readers a present/surprise at the beginning of the year. Today is the day that we unveil that present. We are putting out a 20-band compilation album of covers from Give Up by The Postal Service called Never Give Up: Celebrating 10 Years of The Postal Service. It will be out May 15 on Bandcamp.
We’re running a Kickstarter campaign to finish up the funding of the mechanical licenses. We’re only looking for $695, because this project isn’t looking to change the world: we just want everyone to get paid legally. So, if you want to support Independent Clauses, get some sweet free tunes, support one of the bands below, or generally be awesome to each other, you should hit up the Kickstarter Page and check out the prizes. I’ll handmake you a mix CD! With art!
7. The Mountain Goats – Transcendental Youth. Turning its back on the morose portraits that characterized All Eternals Deck, TY was a verifiable romp through the psyches of doomed characters fighting that good fight to stay alive. The addition of horns and enthusiasm worked wonders for Darnielle’s mojo.
6. Challenger – The World is Too Much For Me. Beautiful synth-pop that was equal parts trembling and exultation. Dancy moods and undeniable melodies met a sense of late-night, modern-society dread in a masterful combination. Quite an astonishing debut.
5. The Menzingers – On the Impossible Past. This tightly constructed album is one of the heaviest lyrical statements I’ve ever heard in a punk album, taking on the past and Americanism in a profound way. Their prowess of gruff pop-punk continues, leaving an album that won’t let go of your throat in its wake.
4. Cobalt and the Hired Guns – Everybody Wins. It doesn’t get more enthusiastic than Cobalt. This pop-punk/indie-pop mashup resulted in some of the best “shout-it-out” tunes of the year, while showing that you can indeed still make gold with just three chords, enthusiasm, and a solid lyric. Oh, and horns. Lots of horns.
3. Jenny and Tyler – Open Your Doors. The only artist to appear on 2011’s list and this list, Jenny and Tyler followed up their turbulent, commanding Faint Not with a gentle release looking expectantly toward peace. Its highest moments were revelatory.
2. Come On Pilgrim! – Come On Pilgrim!. Josh Caress and co. lovingly made an expansive, powerful collection of tunes that spanned the wide breadth of modern folk. Leaning heavily on rumbling, low-end arrangements, this was everything that I expected it to be from the first moment longtime solo artist Caress announced he was putting together a band.
1. Jonas Friddle & The Majority – Synco Pony and Belle De Louisville. You should never release a double album as your debut, unless you’ve really got the goods to back it up with. Friddle’s folk explosion is worth every second, as he deftly explores just about every nook and cranny of modern folk, from revivalist antique appropriation to protest songs to modern love songs. The immaculate arrangements would sell it, if his lithe voice hadn’t already given it away. Amazing stuff.
I usually like to get this post to a nice round number, but I didn’t get it there this year. Here’s what my year sounded like, y’all! This post isn’t ranked; instead, it’s a playlist of sorts. My ranked post will come tomorrow.
Most of the things I choose to review at Independent Clauses are good, even if I don’t explicitly say the words “good” or “excellent” in the review. I try to reserve the words of high praise for works that truly go above and beyond the bounds that a genre has set for an artist. Come On Pilgrim‘s self-titled record clears the folk/indie bar by a long way.
Come On Pilgrim! is the sort of album that I and many others have cultivated a taste for over the past ten years. The folk-inspired acoustic songwriting, interesting arrangements, passionate performances, thoughtful lyrics and memorable melodies all come together to make something more than the sum of its parts. The album is also more than the sum of its predecessors. While the loudest moments are a continuation of the anthemic bent that lead songwriter Josh Caress struck on his last solo release Perestroika, Come On Pilgrim! is the work of a whole cast of musicians who push the best aspects of Caress’ previous LPs to new heights.
“Regenerator” elegantly displays Caress’ progression as a songwriter. The song starts off with a droning organ, reminiscent of the drone that marks the beautiful Letting Go of a Dream. It grows through a long, flowing, emotive section (The Rockford Files) before exploding into a howling finale that excellently incorporates some of the darker indie rock that characterized the back half of Perestroika. The result is a distinctive sound that Josh Caress has been working towards for years: beautiful, relatable, passionate, haunting.
But it’s not all Caress; as previously noted, there’s a whole band here that makes the sound. The keyboards, pedal steel and violin permeate every tune as fundamental elements. An acoustic version of “The Ashes and the Springtime (That Wild Feeling)” could be an outtake from the sparse, finger-picked Goes on an Adventure, but it is enhanced from the get-go with atmospheric pedal steel contributions. Piano carries the chorus; the violin brings in the motif that I can’t escape from this album. Caress later doubles the motif with his voice, but not before female vocals introduce the haunting lyrics: “Don’t you want that wild feeling?”
“The True New Fire” knows the wild feeling. The song takes its time to build into a soaring, wordless vocal line over rumbling toms, unfolding during five minutes. The unhurried songwriting allows each of the instrumental contributions to breathe. The results are breathtaking, like a city dweller seeing the stars in Kansas at midnight for the first time.
While those songs are impressive, the “best” tag goes to the 7 minutes and 40 seconds of “The Secret Songs,” which shows off Caress’s lyrical and vocal abilities in an absolutely gorgeous song. It’s about “That night you came over with your dress torn/and I held you while you cried”; Caress has been telling stories of emotional distress since (at least) Letting Go, but in this one everything comes together perfectly. Caress’s voice creaks in places, but it does so with confidence; the lyrics and tone of his voice sync up to deliver a powerful performance. If finding your voice in writing means coming to grips with your talents and embracing them, Caress has found his lyrical and melodic voices here.
The eight songs of Come On Pilgrim! sprawl over 40+ minutes, making this a listening experience as opposed to a quick hit. The songs are carefully, lovingly arranged, and it shows in the final product. Come On Pilgrim! is easily a highlight of the year, even in a year when Mumford & Sons, The Avett Brothers and Grizzly Bear released albums. I keep coming back to it over and over because it exceeds my expectations for folk/indie in almost every way.
UK DJ Ex-Friendly is releasing The Friendly EP later this year. Instead of coming up with art for it himself, he’s throwing it out to the world at large: until July 27, you can submit a potential album cover as part of a contest. The full details include dimensions, a picture for inspiration, and where to send your finished piece. Here’s the rhythm-heavy single:
Come On Pilgrim! has announced that its album release show has moved from August 11 to August 25. All the other details are the same: 9 p.m. @ The Rhumb Line (Upstairs), Gloucester, MA. Here’s the Facebook event! I hope this is the final news on the show, because if I have to post one more time about this show I think my heart will break.
And because the month turned over recently, it’s time for another installation of the Run Hundred list. -Stephen Carradini
This month’s top 10 songs is packed to the brim with surprises. With the exception of Rihanna, none of the usual suspects (GaGa, Pitbull, Katy Perry, etc.) make appearances. In their places, you’ll find an aggressive synth track by Nero, a comeback single from Matchbox Twenty, a crossover hit from Juan Magan, the sophomore effort from One Direction, a mash-up from the Rock of Ages soundtrack, and more.
Here’s the full list, according to votes placed at Run Hundred.
To find more workout songs, folks can check out the free database at RunHundred.com. Visitors can browse the song selections there by genre, tempo, and era—to find the music that best fits with their particular workout routine. —Chris Lawhorn
Come On Pilgrim! is finally finished with its debut record! All y’all in Boston need to be at The Rhumb Line (Upstairs) in Gloucester, MA, on August 11. I will sadly not be there, but I will be thinking of it from afar as it happens. Here’s the video for the album’s first cut.
Icona Pop’s new jam is called “I Love It,” and I love it. This is the late-night, scream-it-out summer jam.
The somber mood of Scarlett Parade’s “March of the Fallen” caught my ear recently; this organ-led tune is quite arresting. You know those empty, bleak moods that Songs:Ohia and Pedro the Lion used to make? This tune is heading that way.
I’ve rarely been on-the-ball enough to get my year end lists done by December 31, but this year I made a concerted effort to have all my 2011 reviewing done early. As a result, I was able to put together not just a top 20 albums list, but a top 50 songs mixtape and a top 11 songs list. Here’s the mixtape, organized generally from fast’n’loud to slow’quiet. Hear all of the songs at their links, with one exception of a purchase link (#27). The other lists will come over the next few days.
Come On Pilgrim! (which includes IC fave Josh Caress) successfully completed its Kickstarter campaign today. I am so stoked about this that I’m reposting the band’s Kickstarter video, because it has “The Region of the Summer Stars” in it. I am so, so excited for this album.
In celebration, I spent the whole day listening to my favorite Josh Caress album, Letting Go of a Dream. I listened to it five times straight through.
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.