Independent Clauses | n. —unusual words about underappreciated music

Top Albums of the Year: 1-10

January 3, 2015

Without further adieu, numbers 1-10 in the best albums of the year.

Album of the Year: The CollectionArs Moriendi. (Review) This album epitomizes the type of music I look for: intricate, complex arrangements of acoustic-led, folk-inspired indie-pop tunes with deeply thoughtful lyrics about life, death, and religion. The fact that you can shout along to half of the tunes only makes this more impressive. This was a no-contest winner for album of the year.

2. Kye Alfred HilligReal Snow. (Review) Temporarily shedding the acoustic singer/songwriter mantle, Hillig struck gold with a set of electro anthems cut through with his well-developed indie-pop songwriting techniques and evocative, thought-provoking lyrics. “None of Them Know Me Now” is the jaaaaaaam.

3. St. EvenSelf-titled. (Review) I love concrete poetry that relies on images to portray meaning instead of adjectives. St. Even knocks that type of work out of the ballpark here, pairing it with playful, unexpected, herky-jerky, innovative arrangements of horns, piano, and strings. “Home Is Where You Hang Your Head” is a stand-out among stand-outs.

4. Brittany Jean and Will CoppsPlaces. (Review) Giant washes of sound meet indie-rock emotion over acoustic instruments to create something that’s not exactly electronica, indie-rock, or singer/songwriter. It hit me in unexpected ways, and always from unexpected angles.

5. The Fox and the BirdDarkest Hours. (Review) The folk-pop boom is largely over, meaning that we can get back to people doing folk-pop because it’s their thing, not because it’s a trend. The Fox and the Bird produced the best straight folk-pop this year, both lyrically and musically. Challenging lyrics and breezy, easy-to-love music is a great combo for folk-pop, and Darkest Hours has both.

6. CancellieriCloset Songs. (Review) Welcome to Mount Pleasant was a gorgeous album, but this collection of demos, b-sides, and covers was the Cancellieri release that stole the most of my listening time this year. Ryan Hutchens’ delicate voice is beautifully juxtaposed against a single acoustic guitar, putting his songwriting, song re-envisionments, and impeccable taste in covers on display. A perfect chill-out album.

7. Little ChiefLion’s Den. (Review) Arkansas folk-pop outfit Little Chief took the path trod by The Head and the Heart in creating chamber-pop arrangements to fit on their pastoral, rolling songwriting ways. The subtlety and maturity in the songwriting is astonishing from such a young outfit. If you need an album to drive around to in fall or winter, here’s your disc.

8. Novi SplitIf Not This, Then What / Keep Moving Disc 2 / Spare Songs / Split. (Reviews) My favorite hyper-personal, intimate songwriting project got a massive bump in exposure this year. David J took the recordings of a decade that were spread about the internet and finally compiled them in one place. I’ve heard almost all of them before, but the fact that they’re official and can be easily accessed caused me to listen through them again. They’re all still amazing examples of painfully poignant bedroom singer/songwriter work. Do yourself a favor and get acquainted with Novi Split.

9. M. Lockwood Porter27. (Review) Porter’s second full-length expanded his alt-country sound in dynamic ways while developing his lyrical bent. The results are memorable rock tracks (“I Know You’re Gonna Leave Me”) and memorable ballads (“Mountains”), a rare thing indeed.

10. Jacob FurrTrails and Traces. (Review) The subject matter of Trails and Traces is even heavier than Ars Moriendi, but Furr takes a nimble, light approach to his alt-country. Instead of wallowing in despair, Furr’s heartbreaking lyrics are backed up with hopeful, searching melodies. I’d usually say “not for the faint of heart” on matters like these, but Furr has truly put together one that speaks hope for the hurting and hopeless. Search on, friends.

Novi Split: The Grand Reconsideration

April 17, 2014

Novi Split is going through the great reconsideration right now. Between Spare Songs, Keep Moving, Disk 2 and If Not This, Then What, David J has spent the last three months publicizing, re-publicizing, and in some cases unearthing everything that his singer/songwriter project has done. In case you the missed the incredible work of David J over the last decade, he’s making himself easy to find now.


And that’s good, because these three releases show an impressive songwriter with a golden voice and a crisp, earnest singer/songwriter style. Let’s start with Keep Moving, Disk 2, which puts the focus on his 2003 debut, Keep Moving. Even though it invokes the title of the original album, it could more accurately be titled Pretty Much Everything I Did Between My First and Second Album, which was almost exactly four years from Jan 2003-Jan 2007.

Disk 2 collects great tracks off obscure EPs (“Get Me to Bed”), devastatingly beautiful covers (Material Issue’s “Very First Lie,” Robyn Hitchcock’s “Madonna of the Wasps”), surprisingly pretty demos (“California Skies”), and an aptly titled instrumental (“Instrumental”). It also includes no less than 21 live tracks, which are mostly of Keep Moving tracks. It is a deep dive into the catalog of Novi Split, and it will leave you charmed, pleased, and puzzled that Novi Split isn’t more well known. “The New Split (Live)” deeply moves me. “Me and Andy” has been one of my favorite songs for years. This reconsideration couldn’t come soon enough.


Once you’ve been blown away by his early work, let’s pick up with some mid-period stuff in Spare Songs. Pink in the Sink was a decidedly more hi-fi affair, and the songs on Spare Songs show that. “I Wonder Who’s Kissing Her Now” seems to have mixing and mastering, a luxury that was not expended on some of the early tracks. This by no means diminishes the charm of the early ones or raises the stature of the new ones. It merely makes them sound different.

David J’s voice gets featured a little less here, as his pristine songwriting gets played up. “Don’t Go Home” is an absolutely gorgeous piano tune, while “Pear” (a song I’ve never heard before) is a gentle, thoughtful instrumental that links up to previous tracks in the distant horn line. (Similar horn melodies will resurface in other songs–it’s a bonus, not a detractor. Trust me.) Spare Songs is capped by a delightfully weird and wonderful version of “Dancing in the Dark.” I like this version better than the Springsteen original, for real.

And finally, we make it to If Not This, Then What, which includes brand new versions of songs off Pink in the Sink (“You Got Served,” “Young Girls”), songs that got released between PITS and now (“Hollow Notes”), and a brand new cover (Blaze Foley’s “Clay Pigeons”). Through it all, David J displays the intimacy that characterized his early works with the pristine songwriting and hi-fi production of his later work. I’ve said it before, and I’ll say it again: David J’s voice and songwriting sound effortless, as if he just opens his mouth and the music comes out. He’s significantly more alt-country than he used to be, but it’s not a twangy-voiced alt-country but a pedal-steel affection. It’s downright beautiful stuff.

Now that Novi Split has cleared out every corner of the vault, I hope that we’ll be seeing some brand new work in the upcoming years. With all his work available and easily accessible for the first time ever (you have no idea how hard I worked to track down all the tracks that are now available on a single Bandcamp page), hopefully people will start to pick up on an unheralded, underappreciated master of the craft.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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