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. “Arizon” – La Cerca. Thoughtful, walking-speed Western music: gentle keys, reverbed clean electric guitars, thrumming bass, easygoing vocals. Sometimes the title (sic, by the way) is all you need to know.
2. “Jimmy & Bob & Jack” – Edward David Anderson. Some songs don’t need or deserve lyric videos, but this rollicking tale of three would-be criminals had me hanging on every word from Anderson’s mouth. The swampy, country instrumentation that floats the lyrics is pretty great too.
3. “Need a Break” – David Myles. I don’t get sent that many old-school, rapid-fire, talking-country tunes, but David Myles has delivered me a tune that I can’t stop tapping my foot to.
4. “Falling in Love” – Nathan Fox. Right what it says on the tin, with raspy/gritty vocals reminiscent of bluesy hollerers.
5. “Beacons” – Scott Bartenhagen. Structured, mature, serious acoustic music that made me think of Turin Brakes for the first time in a long time. Regardless of what happened to the “Quiet is the New Loud” movement, I’ll still be a fan of intense, focused acoustic singer/songwriter work.
6. “Lazy Moon” – Brave the Night. If you’ve ever (secretly or unabashedly) enjoyed an ’80s Billy Joel ballad OR were enamored with Norah Jones OR don’t think “lounge” is a bad word, this tune will tickle your fancy. Sweet trumpet, too.
7. “One More Time” – Cape Snow. Bree Scanlon’s voice sounds so composed and mature in this tune that it’s tough to not start assigning positive moral qualities to it. She guides this gentle tune through its four minutes, sounding like the direct descendants of Mojave 3 the entire time.
8. “Easy on Me” – Runner of the Woods. The premiere of this song includes songwriter Nick Beaudoing coining the term countrygaze. As this mashes up country and shoegaze (and, by my own personal extension, chillwave), I am on board with this term. I want to believe.
9. “Origins” – Jesse Payne. Excellent widescreen, engaging indie-folk calling up The National comparisons as easily as of the obvious Fleet Foxes/Grizzly Bear woodsy bands.
10. “White Queen” – Benedikt and Friends. You’ve had a hard week. You need a song that gets that, as well as helping you slip into relaxation. This tune offers tons of pathos to empathize with, as well as crisp melodies and tight engineering of the nuanced, subtle arrangement. And it’s Norwegian.
11. “RMDN” – +Aziz. Linking ancient religious practice with social media and traditional acoustic guitar with gentle beats results in a song that realizes its lyrics in its sound and vice versa. It’s an intriguing song that never lets the concept take away from being a good tune.
I’ve been getting so much good acoustic music lately that I’ve been pulling back from reviewing albums of anything else. (I still cover everything in the MP3 and video drops, don’t worry!) But Inner Outlaw’s I/O is so immediately attention-grabbing that I had to review it.
I/O is rock without garage rock trappings: even at their noisiest, the sounds here are slinky, smooth and polished. Inner Outlaws has the art of cool down pat, whether it’s the dusky back alley of “Easy Life,” the punchy guitar and low-slung rhythm section of opener “Rich City,” or the acoustic-led folk/psych of the twilit “Dead Man’s Game.” The band knows how to make sounds live between vaguely optimistic and outright dark; I/O mines the spaces inbetween, whether they be eerie, dangerous, intriguing or comforting (“Rich City Two”). “Cloak of Lichen” is all of those at once, even. It’s a very cohesive album, which is rare these days. I/O showcases a particular mood from a variety of angles, like a diamond with its many facets.
Inner Outlaws took the best parts of classic rock and updated them with indie-rock cool. If you’re into anything from Fleetwood Mac to The Strokes to Bloc Party to Grizzly Bear, you’ll find things to enjoy in I/O. This album shows off a band with talent and vision; it’s also a ton of fun. Can’t ask for much more.
I just spent the better part of two weeks going through a house move and a computer crash. (Why do these things so often tag team?) As a result, I’ve got a very eclectic mix of tracks that I’m into right now. Usually I try to put some sort of theme together, but this one has it all. Good luck!
The New House Highs and Lows
1. “Icarus” – Silver Firs. If Grizzly Bear and Givers joined forces, I still don’t know if they could pull off this track. It’s like a more woodsy version of Architecture in Helsinki, which is my way of saying, “A+ LISTEN IMMEDIATELY.”
2. “Dean & Me” – jj. If you want to know what the world has come up with in 70 years of pop music, you’d be hard-pressed to find a better example track than this one that incorporates vintage songwriting skills (even with a throwback reference!), traditional lyrics (with some existential twists) and sounds that are completely now. Just brilliant stuff.
3. “Blue Eyes” – The Rosebuds. You probably need some giddy, jangly, ooo-filled guitar pop in your life. The Rosebuds provide.
4. “You’ve Already Won” – Slow Buildings. Classic garage rock bass line, tambourine, and half-speed/mopey chorus make for a way fun tune.
5. “Scott Get the Van, I’m Moving” – Cayetana. If you’re not on the Cayetana train, that’s because it’s quickly becoming a bullet train and it’s hard to jump on those. But seriously. Cayetana’s female-fronted punk is blowing up just about as fast as they can get their sound into ears, so you should be on that.
6. “Hold Me Like the Water” – The Radio Reds. You want some churning, claustrophobic punk rock? You got it, chief. The Radio Reds’ latest track makes me feel like I’m in a cramped basement getting my younger self’s demons out through moshing and yelling all the words that the Radio Reds actually are singing. You know what I’m saying.
7. “Valkyrie” – CURXES. If the brittle tones of Sleigh Bells got somehow danceable, CURXES would show up at that party fashionably late and with a slightly higher-end alcohol than was expected of the soiree.
8. “All I Want” – SW/MM/NG. Remember in the ’90s, when one version of indie-rock was rock’n’roll music made with no pretenses of being radio-friendly or traditionally poppy? SW/MM/NG’s earnest, endearing, yelpy slacker psych is a band that escaped the Pavement vortex and made it forward in time 20 years.
9. “Another” – Greylag. Led Zeppelin had that way of sounding wild and adventurous in their acoustic tracks, and Greylag has that same feel. This exciting acoustic-fronted tune has that rolling, ongoing feel of travel.
10. “Rise Up For Love” – Sister Speak. I love dance-pop and EDM in moderation. I would love to see more classic pop songcraft on the radio, starting with Sister Speak’s beautiful, mature, classy, catchy tune right here. It just feels right in my ears, and it would sound so right on my radio.
11. “Pop Ur Heart Out” – Salme Dahlstrom. Have you ever wanted a female Fatboy Slim? Doesn’t matter, Dahlstrom fills the role with aplomb. Seriously, try to not think about “Praise You” during this tune. It’s impossible. I love it.
12. “Everlasting Arms” – Luke Winslow-King. Southern gospel is kind of like Western swing: distinct sound, not that many adherents. Luke Winslow-King is makin’ that traditional sound cool again, and I’m fully on board with this.
13. “Together Alone” – Hollie April. You ever have that moment where you hear a voice for the first time, and it knocks you back a little bit? Hollie April has one of those amazing voices that make me sit up and take notice. Keep watch.
I’ve got a bunch of folk albums coming down the review pipe this week, so I’m naming them all Folk Thousand, because Guided By Voices was great at naming things.
“Listenable” and “enjoyable” sound like euphemisms for “I couldn’t think of anything else to say,” but Rogue Band of Youth‘s self-titled debut LP is immensely listenable and enjoyable. The North Carolina folk outfit have crafted an intimate, relaxed, casual-sounding collection of songs that fall somewhere between Fleet Foxes and Grizzly Bear.
Opener “Fair Shake” sets the stage of the album with tidy fingerpicking on top of a gentle strum before launching into three-part vocal harmonies. The band sounds completely comfortable here and elsewhere: “Smoke Screens” has an easy flow, while “Blind” has a propulsive energy reminiscent of Blind Pilot. The songs don’t stray from modern folk as a sound, but their songwriting is varied and interesting within those bounds, from country-inflected rhythms (“Daedalus”) to new-school Iron and Wine angst (“The West in My Eyes”). If you’re a fan of modern folk with pastoral vibes and enough angles to keep things interesting, Rogue Band of Youth should be on your to-hear list. You’ll enjoy it immensely.
Cancellieri‘s Welcome to Mount Pleasant takes a more modern tack on new-folk, leaning toward the warm, rolling arrangements of Iron & Wine’s recent work. The opener sets the stage for this album as well, as “Oregon” includes some tender bass work; distant, lightly distorted guitar; double-speed drums pushing the tempo; and a beautiful crescendo to the end that turns into a huge wash of sounds. These are beautiful tunes.
These compositions sound more like songs than they do folk songs; the arrangement of these tunes is indelibly important, and if you covered them with another band they might not hold the charm they have now. This not just true of songs like “Oregon,” highlight “Lake Jocassee,” and the Mangum-by-way-of-Win-Butler awe of “Mount Pleasant.” It’s true of stripped-down tune like standout “Hold On Hurricane,” whose rapid fingerpicking meshes perfectly with singer/songwriter Ryan Hutchens’ fragile yet clear voice.
If there’s a single thing to point to in Welcome to Mount Pleasant that turns these arrangements from standard fare to the excellent collection they are, it’s the drums. The percussion throughout these tunes provides a spark that is often under-utilized in a post-Mumford world where straight quarters on the kick and snare are seemingly all that you need. The drum work here is complex and difficult, yet remains in the background, not stealing the show. It’s the little things that make the difference, and here it’s the drums.
If you’re into warm, enchanting, upbeat folk/indie tunes, you should definitely check out Cancellieri’s Welcome to Mount Pleasant. You’ll be pleasantly surprised, and quite possibly cheered, by the subtle beauty throughout.
The three songs of Nevernames by Silences hold intimacy and expansiveness in close quarters due to impressive songwriting and an incredible production job. Silences’ sound fits neatly at the intersection of Grizzly Bear’s arrangements, Fleet Foxes’ casual vibes, and Death Cab for Cutie’s vocal styles; this makes for songs that are incredibly easy to listen to but also challenging enough to like with your hipster hat on. If you sometimes turn on music and want it to hug you, Silences might be your band. “Santa Cruz” culminates in soaring beauty that will make you want to hit repeat; “Emma” is inspired more by hushed Iron & Wine folk. It’s a very impressive outing from a band I hope to hear much more about.
The humble, earnest simplicity of Pop and Obachan‘s female-fronted singer/songwriter work reminds me of Waxahatchie. I get that comparison in early, because these raw, quiet tracks have that hard-to-qualify x factor that makes this really worth hearing and not just another person with a guitar. Is it the endearing vocal delivery? Is the vocal melodies? Is it the use of strummed banjo? I don’t know what it is, but I heard Unfurl and immediately said, “yes. that.” If you love the feel of punk bands that slowly turn into alt-country bands and then into straight-up folk-singers (you know who they are), then you’ll love the vibe of Pop and Obachan.
The Debonzo Brothers‘ Carolina Stars does pop-rock that reminds of early 2000s bands like Grandaddy, Vertical Horizon, and the non-“Stacy’s Mom” things Fountains of Wayne did (and yes, they did plenty of those). There’s guitar crunch with some dreamy arrangement layered on it, plenty of emotional angst, but also a warm vibe that keeps this aimed at pop. The five tracks of Carolina Stars are catchy but also invested with sonic depth that keeps things interesting after multiple listens. The title track and “More than This” capture their vibe really well.
Cereus Bright combines acoustic pop and folk in a way that doesn’t diminish either tendency. The band plays really bright, cheerful songs that feature mandolin in a way that sounds like a mandolin (not just like a mandolin playing a guitar part). Oddly, the one sad track is the title track of Happier Than Me. If you’re a fan of Nickel Creek, Cereus Bright will have you tapping your toes, singing along, and recommending them to friends. Not everyone can balance pop and folk without skewing toward one or the other, but Cereus Bright does an impressive job of it. “Stella” in particular will perk your ears.
1. “It’s All Over Now” – Blair Crimmins and the Hookers. Vintage-style New Orleans jazz/rag doesn’t get much more fun that this. I mean, spoons!! You know you love this already.
2. “Break Away” – Afterlife Parade. AP’s triumphant indie-rock is sounding more and more like U2 by way of The Killers with every release, and I’m totally down with that. You hit those soaring group vocal lines, and I don’t care who you sound like. Sing it.
3. “Silver Boys” – Holyoak. Do you wish that Grizzly Bear was a little less obtuse? Maybe that Fleet Foxes was a little more direct? Holyoak delivers the goods.
4. “White Noise” – The Hand in the Ocean. Heavy on the folk, lite on the indie; heavy on the warbling vocals, lite on Bon Iver beauty-croon; heavy on the banjo, lite on the kick drum.
5. “Ghostflake” – Owls of the Swamp. This piano-led, indie-folk take is as delicate and gentle as the title would suggest.
6. “Vermona” – Take Berlin. Formal pop songcraft and singer/songwriter fare are coming closer and closer together, as the rambling Bob Dylan impulses of yore are turning more toward Paul Simon’s beautiful structuralism. This track’s guitar and analog synthesizer show off that shift.
7. “Broken Arrows” – Tracy Shedd also shows off her formal songcraft skills, adding in a touch of ’50s pop vocal flair to the precise acoustic strumming and melodicism.
8. “The Kids and the Rain” – Alex Tiuniaev. New classical piano composer Tiuniaev opens his album Blurred with this moody, atmospheric, scene-setting solo keys piece.
I have now officially recovered from SXSW. It’s time to get back to that inbox and cover those bands you will soon love. Here’s an indie-pop/indie-rock mix for y’all; this should brighten your day.
Brighter … Now!
1. “Come Back to Life” – Hospital Ships. Sometimes I hear a song and think, “Wow, I want to write songs like that.” Stunning quiet/loud indie-rock here.
2. “Roosevelt Hotel” – Cocovan. That chorus. I’ve been singing and dancing for a week solid. This woman knows her way around a thoughtful pop song.
3. “Way Yes” – Colerain. Can you have dance-friendly energy while being deeply pensive, even sad? And make all that beautiful? Colerain says yes, yes, we can.
4. “California Analog Dream” – Vondelpark. Remember the first time you heard Grizzly Bear? Or Bon Iver? My first listen of Vondelpark was like that: instrumental simplicity that somehow overwhelmed my ears like an enlightenment experience.
5. “Monday Morning” – Charles Mansfeld. Acoustic indie-pop with idiosyncratic vocals and a unique gravitas? The more the better.
6. “Jive Babe” – Mikhael Paskalev. Squash together the frenetic vocal fervor of King Charles with the buzzy guitars of the Vaccines and you’ve got a scrumptious recipe.
7. “Monday Morning” – Younger James. (Not a typo, this one is also called “Monday Morning.”) I heard the Strokes have a new coming out. I can almost guarantee that this tune will be better than whatever that foursome is putting out.
8. “Ode to the Summer (Radio Edit)” – Syd Arthur. Someone called this prog? I thought this intricate, melodic work was what indie rock sounded like in 2013? Things just got weird.
9. “Young Men of Promise” – Yellowbirds. What a great song title. The mid-tempo, vaguely garage-y indie-pop is strong, too.
10. “Open Arms” – Fletcher. Q: What if The Walkmen were happy? A: FLETCHER. Next question.
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.
Back when I was a humongous pop-punk fan just getting into acoustic music, I never thought I’d be able to distinguish between alt-country and folk. At some point before I heard Don DiLego‘s music, I figured that distinction out–even if it’s still difficult for me to fully explain. It’s more than the occasional pedal steel and full-band instrumentation that sets DiLego’s music in this category or that; he approaches the whole Western & Atlantic EP with a mature, well-developed gravitas in the melodies and lyrics. “Chicago” is a song about love with a minimum of sap, while “Television Sun” is about “what’s worth fighting for.” “Lonely Couples” is a stark tune that reminds me of Chris Mills’ work, while closer “Carry On” is a powerful tune that impressively never goes for the big hook and remains dignified in its quiet existence.
These tunes are incredibly strong, especially when considering the impromptu sessions that predicated them (you can read the story here). This one unfolds more of its beauty with each subsequent listen. If you’re down for thoughtful lyrics and disarmingly poignant melodies that resist emotive pandering, then Western & Atlantic needs to be in your corner.
The Damn Choir‘s You’re My Secret Called Fire features almost everything I want from an indie-folk band: distinctive yet melodic vocals, full arrangements, confident songwriting, spot-on performances and powerful control of mood. The band strips its sound clear of Mumford and Sons’ grandiose veneer, the cinematic production values of Grizzly Bear, and slow’n’sad tendencies that many songwriters put forth to produce a raw, vital sound. It’s a beautiful, poignant, passionate album–musically. However, as you might expect from a band that doesn’t think twice about putting the word “Damn” in its name, the lyrics are incredibly raw. They’re not vulgar or profane, but “I wish I was Noah, I would watch the world drown” and “I watch the pain in your eyes before you finally drown” (from “Noah”) are representative samples. Let’s just say religion and ex-girlfriends are not high on the list of The Damn Choir’s favorite things. If you can get past that, there’s gold in these hills. (I’d go for “Grace” and “Ghost.”) If those sentiments rub you the wrong way, go for one of the other two albums in this post.
Heyward Howkins’ The Hale and the Hearty is something altogether different from the two albums above. Although it could be filed in a loose interpretation of “indie-folk,” Howkins’ songwriting vision is far outside the traditional folk style (i.e the You Can Play These Songs With Chords school, as the not-folkies in Death Cab for Cutie noted). Howkins’ complex, intricate songwriting is full of twists and turns. There are more sudden stops and starts here than in a math-rock album. The melodies are less structured and singalong, more stream-of-consciousness and meandering. This creates an album that is an experience not easily translated into mixtape fodder. Not that “Waist High and Dry” doesn’t have beautiful moments that could definitely fit between Fleet Foxes and Josh Ritter; it just also has unusual rhythms and arrangements that would make it a weird fit at the same time. The song is 2:55 long.
Again, Howkins’ album is just as beautiful as the other two on this post: it simply gets there in a vastly different way. If you’re into music that makes you think more than it makes you sing, this one’s for you. You’ll still hum the tunes; but they’ll be hums punctuated by unexpected drum riffs (“The Raucous Calls of Morning”), unusual horns (“Cocaine Bill”) and tempo changes (everywhere) that keep your brain on point. Great, great stuff.
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.