1. “I Touch My Face in Hyperspace Oh Yeah” – Devin James Fry. You shouldn’t need my encouragement to listen to a song with a title so enigmatic and intriguing, but if you do, the fiery, wild-eyed psych-folk-rock is just as immediately engaging and mind-expanding as the title.
2. “Cheap Shades” – Chris Staples. Staples tosses off lyrics in this gentle, walking-speed acoustic tune as if they were easy to come by, as if they weren’t complex and unique and deeply thoughtful. This doesn’t sound like the Mountain Goats at all, but fans of John Darnielle will hear the lyrical kinship (even if the music is closer to Sufjan’s Michigan than anything TMG has put out, except maybe Get Lonely). If you’re of the age and vintage that 238’s “Modern Day Prayer” is tattooed on your consciousness, get prepared to have your mind blown: this is that Chris Staples.
3. “Can’t Undo This” – Heather Bond. It’s tough to do a dramatic, introspective ballad without getting formalist or maudlin. Bond balances gravitas and vulnerability to come up with a searing, poignant, piano-driven tune.
4. “Take You Away” – The National Parks. Handclaps, pizzicato violin, punchy horns, and bright-eyed guy/girl vocals buoy this cross between orchestral-folk-pop, party-friendly indie-pop-rock, and even some disco vibes (!). Weighty genre labels aside, this is a cheery, thoughtful tune that does more than bash out chords on a well-trod road.
5. “Ida” – El Tryptophan. Was Pet Sounds an orchestral explosion of the Phil Spector sound? If so, “Ida” could fit in the chronological and sonic space right between ’60s girl-pop arrangements and Brian Wilson’s masterpiece (with some Velvet Underground thrown in for good measure).
6. “Pink Lemonade” – Monogold. Sometimes the title is all you need to know.
8. “Kids” – Dara Sisterhen. Somehow manages to blend country, ’50s pop, and folk-pop into one breezy, carefree tune perfect for your next road trip.
9. “The Script” – The Treacherous French. Almost any accordion-laden acoustic tune is going to come off like a sea shanty; the washboard percussion, enthusiastic high-tenor vocal performance, and “whoa-ohs” solidify the notion.
10. “Willingham” – Echo Bloom. Somehow combines the murky sounds of a forest, high-drama noir vocals, indie-rock slinkiness, and ghostly aura. Wildly inventive.
11. “Little Dreamer” – Charlotte & Magon. Delicate electric guitar, gently dramatic vocals, and an overall sense of lazy Saturday mornings.
12. “Gotta Wanna” – Gun Outfit. I turn the key and the engine hums. I turn out of the gas station and back onto an empty Arizona highway, headed back toward California. The insistent drumming underscores my sense of motion, but the vocals and guitar lean back to make sure that everyone knows it’s not all that urgent. We’re gonna hang out and enjoy ourselves when we get there; we’ll enjoy it on the way, too.
13. “Hold Hands for Dry Land” – Oryx and Crake. The gleeful community feel of Funeral was part of what made it so engaging: Oryx and Crake develop that same sort of group vibe in this punchy-yet-thoughtful melodic indie-rock track. Anyone named after a Margaret Atwood novel is asking for your full attention–they reward, both musically and lyrically.
Canadian indie-pop band Groenland’s debut album The Chase sets this six-piece powerhouse on an island of their own. Every track delivers a different experience for the listener to take in. From deep contemplativeness to cheery exuberance and everything in between, The Chase is an emotional, instrumental, and vocal adventure.
The album does not have one consistent mood, and in that way it perhaps represents the array of emotions we all have. Take the moody, heavy “Immune”: the lyrics explore the inner back and forth occurring within the heart of someone in a passionate relationship. The line that most stands out everytime I press replay is, “I’ll shoot my brains out again if you come back around/ But I won’t suffer the blame to watch us go down.” Although the visceral image of shooting one’s brains out is very negative and dark, the lyric exposes that not only is this a pattern, but it is one that is painful to replay. So although it causes the person pain for the relationship to start up again, it causes equal pain to see it end. How many of us can relate to this masochistic/love-sick pattern that “Immune” explores?
Many of us also know the taste of desire and the hopefulness that comes with believing in something. “The Chase” encompasses the optimism that comes with believing in yourself. Whatever job, love-interest, life you’re chasing after, “The Chase” represents the playful self-assurance that comes along with the quest. The song provides a very different mood that “Immune,” with lyrics like, “You may think you are done with us/ But it’s only just begun” paired fittingly with playful, old-school Mario video game sounds playing in the background. Through lyrics and other aspects such as instrument pairing, each song on the album places the listener in a different emotional state.
The instrumentation of The Chase is an adventure in and of itself. There are piano-heavy tracks (“Our Last Shot,” “Our Hearts Like Gold”), ukulele-led songs (“Don’t Fix Me Yet,” “Superhero”), and appearances of full orchestra (“La Pieuvre,” “Immune”). The varied percussion, particularly in the drums and tambourine, add flavor to many of the songs. The instrumentation found in The Chase contains depth and scope similar to Arcade Fire’s Funeral-era thick instrumentation. It’s a tough standard to be graded against, but Groenland takes it on with this album.
Groenland’s lead singer Sabrina Halde has an uncanny ability to change the feel of the song, just by how she changes her voice. Halde’s voice has depth and soul akin to soulful artists like Adele and Amy Winehouse. “26 Septembre” and “Superhero” both show off this deep, powerful side of Halde’s voice: on the bridge of “26 Septembre,” she goes up and down the scale on just one syllable. “Our Hearts Like Gold” exposes the softer side of Halde’s voice, as she is a bit whisperier for much of the song. Halde allows her voice to sound strong at moments, but she quickly returns to the softer, more delicate side of her voice. As a result, the song ends sweetly and gently, unlike the more powerfully soulful endings found on the album.
Listening to Groenland’s The Chase is certainly an adventure. The lyrics explore many delicate human emotions that we often don’t give enough time to. The diverse instrumentation gives every track a different feel, and Halde’s vocals can bring your spirits to the highest of heights. I highly recommend purchasing Groenland’s The Chase: its diversity will be sure to give you a unique, exciting listening experience. —Krisann Janowitz
I was one of the millions stuck in airports over the weekend. I eventually made it to my destination, five days after my original boarding pass assured me I would. During the last of my three airport visits, I queued up The Yellow Dress‘ Faint Music / Ordinary Light. Opening track “Tummy in the Blood” (provided commentary: “what a gross thing to name a song”) has a chorus that I wanted to sing with all my soul: “We try, and climb, but we know that / mathematically speaking, it gets harder every day / the chances of finding ourselves home again / of finding ourselves in the same way.” It’s a beautiful, passionate call, made all the more wonderful by perfectly illustrating the seeming futility of my situation.
The music itself leans more toward non-traditionally passionate than traditionally beautiful, as The Yellow Dress sounds like an exuberant mix of latter-day Mountain Goats, In the Aeroplane Over the Sea, and Clap Your Hands Say Yeah!. These speedy indie-pop tunes ooze DIY personality from instruments you’d expect (glockenspiel, horns, off-kilter vocals) and don’t expect (clarinet and the unusually prominent bass, which immediately calls up references to Peter Hughes of the Mountain Goats).
The songs move sprightly along, scattering quirky melodies from vocals and instruments throughout songs without concern for obvious mile-markers: there are choruses in some places, and then sometimes there aren’t, but it all sounds wonderful. “A Complete List of Fears Age 5-28 (aprox)” starts with Neutral Milk Hotel-esque heavy strumming, then builds until it’s a roaring Funeral-style indie-rock tune, complete with frenzied vocal delivery. It’s the sort of song I listen to over and over.
My repeated listens are enhanced by the excellent lyrics. Existential angst, growing up, and seizing the day are all things that a person in their mid-20s can relate to at times–especially while trapped in a travel-induced limbo. “FatherSunFunRun/Walk Towardson/Daniel Pennypacker” is a standout in this department, while the previous two mentioned are also wonderful. There are lines throughout each of them that I could see ending up on my computer wallpaper (which, let’s be real, is the equivalent of a middle school trapper-keeper). It’s all incredibly earnest stuff, so I suppose if you’re not into that it might curl your ears a bit. But I’m all about sincerity, so I’m excited about it.
Beyond the intriguing arrangements and captivating lyrics, The Yellow Dress can just be a ton of fun. “Isaac Fitzgerald (bum bum bum)” sees a ragtag choir singing the titular “bum bum bum bum ba-da-da-da” repeatedly as a sort of chorus. If you’re not singing along by the end of the song, we’re probably not on the same page musically: this tune is pretty much all that I ask for in a song. It’s got a great arrangement (check that bass! and saxophone!), strong lyrics, a part where you can yell along exuberantly with the band, and melodies I want to sing out loudly with my windows down. It’s just wonderful.
If you’re into indie-pop, you need to know about The Yellow Dress. Faint Music / Ordinary Light is a wonderful album that takes all the idiosyncrasies that make DIY indie-pop great and rolls them together. It’s the first great album of 2014, and I can see myself listening to this one way into the 2014. Happy new year, y’all, and safe travels.
I have never heard anything like Ghost Heart. For starters, there are no snare drums on their album The Tunnel. There are shakers, cymbals, three million tom hits, bass drum and more, but not a single snare. Most of the vocals are modeled after soaring tribal chant style, but with a distinctly Western melodic bent. The guitars range from indie-rock to mathy patterns. The bass guitar is about the only normal thing in this whole album.
It sounds glorious. It’s really confusing and convention-busting, but it’s a good confusing. The tunes are very long, too; the eight songs here run forty minutes, with one outlier at 1:29. Surprisingly, their unique uncategorizable genre encompasses several different moods; “Salty Sea” is indeed a sea shanty, while “No Canticle” is something Sufjan could write if he spent a week or two in South Africa (Sufjan’s Graceland would be a thing to behold). “Whoever You Are” is an odd, Pontiak-esque mellow rumination. After forty seconds of weirdness, “Black Air” turns into an incredibly surprising indie-rock tune featuring the aforementioned mathy guitar work.
Again, The Tunnel is unlike anything I’ve ever heard. Also, The Tunnel is brilliant. It’s bands like these that test reviewers’ moxie: can this incredibly original sound be translated to text well enough to convince unsuspecting listeners to check it out? I don’t know if I have succeeded. But here’s a list of RIYL bands: Funeral-era Arcade Fire, Sigur Ros, Fleet Foxes, American Football, Coldplay (any album except Parachutes), American Football, Journey, yodeling. No, for real.
Get this album.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.