4. “The Move” – Michael Persall. We can keep updating that ’50s/’60s perky pop sound forever, and I hope we do. The horns, clapping, and general enthusiasm here really seal the deal.
5. “Give Up the Ghost” – Legends of Et Cetera. Synthy new wave/power-pop a la the Cars with an alto female vocalist and a roaring chorus? Sign me up.
6. “Break” – Jesse Owen Astin. Blink and you’ll miss this indie-electro empowerment jam–if you need a stomping tune to get you through a tough thing from the indie spectrum, here you are.
7. “I Feel This Place” – Goldensuns. I never get why some people put only hazy, fuzzy old-school Super 8 footage on their music videos, but if Goldensuns did that for this song it would make perfect sense and I would love it. Languid, ethereal, nostalgic, and yet right on the current waves.
8. “White Flags” – I Used to Be a Sparrow. Andrea Caccese and co. pack a lot into this tune: charging guitars, soaring vocal lines, wiry instrumental sections, memorable melodic parts, and more. I’m always excited to hear more IUtBaS music, and this song is no letdown.
9. “Ode to the Spring” – Crocodile. If Bombadil’s quirky-yet-earnest approach to songwriting collided with Pet Sounds, the results would be similar to this acoustic-led track that balances psych wandering with straightforward acoustic pop.
10. “I Could Never Say No” – Heather LaRose. Here’s a fun modern pop song with solid vocal and synthesizer melodies. LaRose knows how to write a tune that sticks.
11. “Cobwebs” – Fell Runner. This one’s got a ton of atmosphere, as the indie-rock tune gives off the vibe of a meandering trip down a dark, foggy night street.
12. “Sigil of Forgiveness” – Kaito Gigantia. Any description of this song is going to be somewhat deceptive: R&B keys, trumpet, and whispered vocals power this tune, but this deconstructed/experimental take on the genre is like no R&B track you’ve ever heard. For adventurous fans.
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
When I Used to Be a Sparrow‘s Luke appeared last year, I praised its “interesting and unique” take on indie rock but complained that they pushed the “anthem” button too often. The duo has corrected that oversight on You Are an Empty Artist, creating a more intimate collection of tunes that yet resists navelgazing. These songs weren’t written as stadium crushers, although they might turn out that way if the band’s passion, composition chops and infectious melodies have anything to say about it.
The chiming guitar tone and soaring, U2-esque guitar melodies from Luke are largely retained but modified in a critical way: instead of being thrown way up in the mix, the guitars take an equal seat with the vocals and rhythm section (“Spring Knows Where You Live,” “I’ve Got the Feeling We Are Not in Kansas Anymore”). This creates an egalitarian atmosphere in the arrangements, letting the listener’s ear roam about. By taking the focus off one thing, they put the focus on everything. Songs like “I’ve Got…” live up to that treatment, as the rhythms, melodies, and intricacies are a joy to listen to. But by keeping the pace quick and focusing on singable vocal melodies, the songs don’t ever veer toward guitar noodling.
The insistent pace and excellent chorus of “Cannonball” mark it as a highlight, while “Always the Runner” stands out by slowing the pace down and showing off a different side of the band. But from opener “Laura” to closer “July,” I Used to Be a Sparrow doesn’t disappoint. Their instrumental palette is still largely stable throughout, and I’d love to hear them experiment with some more sounds in future releases. But as it stands, You Are an Empty Artist does a good job of meeting its own ideals and eschewing vapidity in its work. That’s a worthy coda to any review.
So our Kickstarter is going splendidly, as we’re 84% funded after less than 48 hours of being open. The rapid success thrills and humbles me, as this little project (and by extension, I) have been the recipient of much generosity over the last two days.
But even with golden days about us, there’s still work to be done! Here’s a large mix of solid singles that have floated my way recently.
Independent Clauses is somewhat of an alternate universe when it comes to music reviewing. I rarely cover the hip bands, often love things no one else does, and generally attempt to be true to what I hear. If there’s a radar to be on or under, we’re hanging out on a different screen altogether. This is more by happenstance than choice: I never set out to be contrarian. And I don’t feel like a curmudgeonly naysayer of popular music, as you’ll see tomorrow. I just have a different lens than many people. Here’s the view from that lens.
16. Elijah Wyman/Jason Rozen’s collective output: Tiny Mtns/The Seer Group/Decent Lovers. What started out as the artsy electro-pop project Tiny Mtns split into a heavily artsy electro project (The Seer Group) and a heavily artsy pop project (Decent Lovers), with the two splitting the tracks between them. Except when both kept a track and reworked it to their likings. Did I mention that this one time, one of these guys gave the other a kidney? Now you see why they get one mention.
Hoodie Allen and G-Eazy are going out on tour together! The indie-rock-flipping rappers will be traveling all over the East Coast and Midwest in September; I’ve already got tickets to the Atlanta date. I’m stoked to finally see Hoodie live; IC has been covering him for a long time.
Soundsupply, the music-discovery service whose creators I interviewed recently, is back with a new 10 albums for 15 bucks. This one includes IC faves I Used to Be a Sparrow, Mason Jennings, and Mansions; from the clips in the video below, I’m super-excited about La Dispute and Talons.
I’m getting back into running (it’s always more fun to be a runner than to turn yourself into a runner), so I need music. And RunHundred is there for me, with its monthly Top 10. —Stephen Carradini
If you were working on a workout music time capsule—trying to show future generations what folks listened to in the gym in 2012—the highlights from August alone would nearly do the trick.
In this month’s top 10, running favorites LMFAO, Flo Rida, and Pink all made appearances. Pitbull turned up twice—once in a remix and once with Shakira. And, the year’s two biggest hits (“Call Me Maybe” and “Somebody That I Used to Know”) were both reinvented as club tracks.
Here’s the full list, according to votes placed at Run Hundred–the web’s most popular workout music blog.
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
I’m showing up late to The Naked and the Famous’ album Passive Me Aggressive You because I agreed with the naysayers who thought “Young Blood” sounded like second-rate Passion Pit. But since I ran across the much more subtle and interesting “Girls Like You” and “Punching In,” I’ve been hooked on the band’s sound. I even like “Young Blood” more, because I know that it’s backed up with nuance, as opposed to cash-in, rip-off glee. Official apology complete.
Bands that can pull off glee and nuance with equal passion are of deep interest to me, which is why TNATF and I Used to Be a Sparrow both have been piquing my interest recently. The duo named I Used to Be a Sparrow hails from Sweden, composed of IC fave Andrea Caccese (Songs for the Sleepwalkers) and Dick Pettersson. Caccese brings thoughtful post-rock/dream-pop influences from his previous work to their debut Luke, while Pettersson contributes an upbeat indie-rock aesthetic reminiscent of Frightened Rabbit. The result is an optimistic, energetic, beautiful album with plenty of room to grow.
The album has a lot of musical touchpoints: the churning post-rock of Sigur Ros has some pull on the sound, while the heavily rhythmic beauty of their lead singer Jonsi’s work figures in (“Lovers on the Moon”). The optimistic mysticism of ’80s U2 (optimysticism?) influences some of the guitar work (“Cambodia,” especially), while the passionate charge of Scott Hutchison’s Frightened Rabbit is unavoidable to mention (“Cambodia,” again). Their more anthemic turns call up Kings of Leon and U2 again.
So is this a derivative mess? No, not at all. The touchstones never devolve into aping another’s sound, because the dream-pop, post-rock and indie-rock ideas are all pulling on each other at the same time. The best example of this is the title track: “Luke” starts off with a wall of squalling guitars and feedback before fading the noise into a dreamy, patterned electronic rhythm and four-part vocal chorus. The background drops out, leaving just the transcendent vocals. It’s an odd tune, but an endearing one, because the vocals are just so good. The song ends, seguing into “Give It Up,” which is an acoustic track of sorts.
The best of the tunes here are idiosyncratic like “Luke.” “Smoke” starts off with a chiming mellophone, introduces some interesting rhythmic patterns, and then augments the construction with a stomping, four-on-the-floor drumbeat. “Lovers on the Moon” builds from an acoustic guitar and distant “ooo” into a unique tune complete with shakers, toms, and screaming guitar. “Give It Up” builds an acoustic track out into a darker mood, again with fitting drumming and evocative guitar.
When I Used to Be a Sparrow pushes the “anthemic” button too often, though, things start to get less easily discernable from each other. “Copenhagen” and “Life is Good” sound a lot like each other; “Hawaii” is not that far off. The songs aren’t bad, but they’re repetitive. (Of the three, “Life is Good” sounds like the original, and the other two the copies.) “Moby Dick,” one of the more memorable vocal melodies on the album, owes a debt to the Passion Pit/The Naked and the Famous school. (Which, I suppose, is a good or bad thing, depending.)
Caccese is starting a habit of doing one-off projects, but I hope this is one that he sticks with. The things that he and Pettersson bring to the table make for a unique blend of nuance, passion and enthusiasm. With some more songwriting under their collective belt, I Used to Be a Sparrow could be something really great. Tunes like “Luke” and “Lovers on the Moon” already prove that their vision is an interesting and unique one. Here’s to hoping they refine and mature it, because I would love to hear more of this.
The Wooden Birds know their sound perfectly: “Long Time to Lose It” is the second pitch-perfect music video they’ve released from their latest album Two Matchsticks. It features a woman walking calmly around in the beautiful wilderness, as well as a stop at an interesting house. It is beautiful.
“Life is Good” by I Used to Be a Sparrow is ascendant, triumphant indie-rock that recalls everyone and no one. The band features Andrea Caccese of Swedish post-rock band Songs for the Sleepwalkers, and a wintry, elegant Swedish landscape gets significant play in the clip. Despite the enthusiastic musical charge and beautiful visuals, the narrative is pretty heavy.
Keeping the heavy theme, here’s a mini-documentary from Bowerbirds. It’s about how they got back together, recorded an album and built a house. It is visually incredible, and the music is equally sonically amazing.
Great parodies sneak up on you, and the video for The Gorilla Press’s mega-fantastic “On Fire” is a great parody of music videos and Kung Fu action. I love the ending sequence.
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.