1. “Works for You” – Σtella. Sleek, slinky pop that bridges the gap between electro and Fleetwood Mac with ease.
2. “Throw the Game” – Sky vs. Heath. Electro-indie bands are a dime a dozen, but Sky vs. Heath manages to rise above the pack with pristine production, a breathy vocal performance, and solid vocal melodies.
3. “Future Ex” – Plastic Knives. Somehow things still sound futuristic, even though we’re definitely living in the future. This electro-meets-rock-meets-post-rock-meets-soundtrack tune achieves an unusual amount of clarity, consistency and vision for a tune of its type.
4. “Come to Your Senses” – MNNQNS. Ping-pongs between post-punk verses, party-friendly indie-rock pre-chorus, and an almost alt-rock chorus. The results are a lot of fun.
5. “Stay” – Sabbatical Year. Performing the balancing act between hipster-friendly indie-pop and radio-friendly OneRepublic-style pop takes a deft hand, and Sabbatical Year shows off that they’re up to the task.
6. “3 A.M.” – New Dog. A surprisingly perky arpeggiator anchors this late night indie-pop; it’s perhaps a gentler version of Digital Ash-era Bright Eyes. The sort of song that you feel like you’ve known and loved forever, starting right now.
7. “Dodged a Bullet” – Greg Laswell. Laswell is in full-on mope-out mode, making breakups sound just as weird and uncomfortable and all too familiar as we know they are.
8. “All In Time” – Hospital Ships. If you pull out elements of The Postal Service, Songs: Ohia, and LCD Soundsystem and mash them together, you might end up with something along the lines of this intriguing, low-key indie-pop jam.
9. “Cut Love” – Hayden Calnin. A brilliant, icy, arch, James Blake-ian electro-mope (with piano).
10. “The lamp kept us warm, but now we walk (Feat. Olivia Dixon)” – Trevor Ransom. A thoughtful, atmospheric piano-heavy piece (post-rock? modern classical? I don’t know anymore) that includes lots of found sound; it’s the sort of thing that turns an ordinary place into an extraordinary one with a simple pair of headphones.
11. “Back Home” – Lyfe Indoors. It’s tagged “coldwave,” which I’m sure is a specific term, but I like it because this tune is like a spartan chillwave tune in a minor key. It’s got subtle groove and evocative atmospherics.
12. “Dissolve” – TIHMTGB. A fractured, tumbling, almost architectural sonic piece; it relies heavily on impressions and interpretations of the mood, rather than melody. [Editor’s note: This track is no longer available.]
April and November are the two most hectic times of the year for me, so it’s nice to hear some chill, laid-back tunes to get me through the craziness. Hayden Calnin‘s Oh, Hunter is just that: a five-song set of relaxed tunes. The sound itself is quite impressive, melding the melodicism of The National and the tense post-dub soundscapes of James Blake.
Calnin’s low voice is evocative, and it fits in the spaces provided by the sparse beats perfectly. Instead of airy synths, Calnin trafficks in cold, separated beats that he warms with his melodies and delicate instruments: high piano notes, fingerpicked nylon-string guitar, ghostly sounds. The resulting tunes feel weighty without feeling dense; they have emotional heft without beating the listener over the head with it. Calnin shows off his talent as a mature, assured songwriter here–check out the gorgeous “Comatose” or the sparse “Not Good for Me” to see him in full form. Recommended; one to watch.
The back half of my SXSW-agnostic MP3 drop lands, featuring quieter sounds.
1. “Hold on Hurricane” – Cancellieri. The production balances a delicate vocal performance with a crisp, fingerpicked acoustic guitar line for a moving tune that’s one of the best singles of the year so far.
2. “Comatose” – Hayden Calnin. Can you imagine The National and James Blake getting together? Calnin is the best we have of that approximation piano/rich baritone/post-dub mashup. A gorgeously evocative and theatrical (but not flamboyant) performance from Calnin. One to watch in 2014.
3. “Foreverever” – Daniel G. Harmann. DGH has cultivated a distinct mood to his solo work over the years, and this mournful cut fits neatly with his oeuvre of longing, yearning, intimate recordings. A beautiful cut.
4. “Faultlines” – Field Division. Indie folk with Local Natives’ sense of rhythm, Fleet Foxes’ vocal arrangements, and First Aid Kit’s hushed intensity & towering female vocals. Way yes.
5. “Chris Bell” – M. Lockwood Porter. A moving country-rock song for the gone-too-soon former guitarist of Big Star. If you sense Neil Young and The Jayhawks in here, you’re not the only one.
6. “Onwards” – Bird Friend. Anything that echoes the early years of The Mountain Goats’ lo-fi recordings gets my attention. That strum! That lyricism! That brash mood! Wonderful.
7. “Who We Are” – Sonali. This thoughtful female-fronted adult-alternative track shows incredible restraint: after introducing a massive hook up front, that super-catchy vocal melody appears only sparingly throughout the tune. That’s one way to get people listening.
8. “Stay There, I’ll Come to You (Sleepers Work Remix)” – Jonah Parzen-Johnson. JPJ writes spiky, intense, amazing tunes on baritone saxophone and analog recorder. This remix sees one of those tracks get a spaced-out, lush re-envisioning that removes a lot of the raw brazenness of the original.
9. “Snowy Mountain“- Sebastian Brkic. The prolific Brkic (Cyan Marble) takes a break from post-punk freakouts to drop some synthy, walking-speed indie-pop. This’ll make your head bob.
10. “Dreaming While Awake” – Professor Bashti. Brkic also does psych-inspired instrumental/experimental guitar music. Because prolific.
11. “Ellis Bell” – The Cold and Lovely. Moody, wall-of-sound indie-rock that calls up Silversun Pickups, but with a female vocalist.
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.