IC knows Jared Foldy as an acoustic singer/songwriter, so I was a bit surprised when he sent over his new single “Everglow.” Instead of dreamy, gentle acoustic picking, his new single has gently rolling electronic beats and a warm, lush arrangement. It’s a beautiful, pastoral piece that doubles as a chill dance anthem (refrain: “Take me back to summer”).
It perfectly balances its indie-pop and electronic commitments, resulting in a song that could fit as the last track on a chill indie-pop mixtape or get remixed with some sick drops and fit straight into a club mix. Get versatile, Jared! Above all that genre nonsense, it’s a fun, nostalgic, memorable track that IC is pleased to premiere today. You can also check it at his Soundcloud.
The album is not endangered, but it certainly hasn’t been as interesting to me as EPs this year. That’s not because people aren’t making good albums, but because people have been seriously upping their EP game. Still, there are a bunch of great albums that came out this year that rightly deserve praise.
10. Talker – Dear Blanca. Frantic alt-country with unusual instrumentation (saxophone!) and influences.
9. Third Generation Hymnal – Venna. Passionate, female-led modern folk that balances earnest performances and high-quality songwriting deftly.
8. Forty Bells – Brave Baby. This is what indie-rock sounds like in 2013: chiming guitars, pushing rhythms, yawping vocals, and a great sense of atmosphere to cap it all off.
7. Ripely Pine – Lady Lamb the Beekeeper. In the best debut of the year, Aly Spaltro has crafts whole worlds in her songs. Her winding, unexpected, sensational arrangements are matched with her powerful, even shocking voice. Incredibly unique, incredibly strong.
6. Wolf Eggs – The Parmesans. Three guys in a room playing easygoing, charming bluegrass/folk. All the trapping you’d expect in bluegrass are here (harmonies, solos, riffing, goofy asides), and they bring poignant, romantic lyricism to the tunes as well.
5. The Weatherman – Gregory Alan Isakov. Gentleness that doesn’t fade away into blandness is rare, and Isakov has crafted a wonder of a quiet album here. These songs just make me smile.
3. Everything All at Once – Jonny Rodgers. Jonny Rodgers uses the ethereal tones of tuned wine glasses as the basis of his indie-pop sound, but the rest of the arrangements and Rodgers’ high, soaring voice complete the beautiful sound. I’ve not heard anything like this before. Throw in intimate, personal lyrics and you’ve got an impressive work.
2. The Beast in Its Tracks – Josh Ritter. Ritter is a master lyricist, and he turns his pen to the fine details of his divorce. But instead of weeping, he celebrates what life comes thereafter. It’s a rare look inside the life of an artist from an unusual perspective. The fact that he’s one of the best folk songwriters working today helps: the songs here are light but not insubstantial, upbeat but not flippant, and romantic without being maudlin. This is Ritter’s first must-own work since the amazing The Animal Years.
1. Chronographic – Filbert. As a reviewer, I have set expectations of genres. Filbert blew up my frameworks for folk, singer/songwriter, indie-pop, and hip-hop, which resulted in a breathless review that I still fully believe. “Modest Mouse + Jeffrey Lewis + backpack rap + Bon Iver = Filbert” is a reductive way to say it, but it’s still true. This was easily the most inventive album of the year.
Independent Clauses is a wide-ranging blog, but it still comes home at night to folk and indie-pop. So those genres are very well-represented in the Top 10.
10. “Song for Zula” – Phosphorescent. Yup, I’m thoroughly on board with all the love this is getting. Just beautiful.
9. “Home Sweet Home” – Russell Howard. The sound of loss and longing rarely sounds so sweet as in this singer/songwriter tune.
8. “The Mantis and the Moon” – Son of Laughter. Clever lyrics, sprightly arrangement, poignant performance: I hummed this a lot in 2013.
7. “Aaron” – JD Eicher and the Goodnights. Sweeping, widescreen folk-pop that leveled me with a great melody and this line: “I don’t write sad songs/they just seem to write me.”
6. “Judah’s Gone” – M. Lockwood Porter. It’s a tough thing to pack nostalgia, disillusion, and rage into one folky tune without any yelling, but Porter navigates the wildly varying emotions deftly.
5. “American Summer” – Jared Foldy. Gentle fingerpicking and reverb create a strong atmosphere, as Foldy offers the sound of beloved summers that sadly have to end.
4. “The Riddle Song” – The Parmesans. Poignant yet flirtatious, this bluegrassy love song is wonderful.
3. “For the Sky” – Wolfcryer. The opening riff of this folk tune, optimistic and yearning, sets the stage for an inescapable tune.
2. “Creeping Around Your Face” – Novi Split. The most tender, gentle love song I heard all year, steeped in the reality of hard times but the hope of good to come.
1. “Everything Is Yours” – Jonny Rodgers. Wine glasses cascade and swoop through the quiet indie-pop arrangement, giving Rodgers a fascinating canvas on which to paint lovely vocal melodies and descriptive lyrics. I couldn’t stop listening to this for weeks.
I deeply admire intricate arrangements, but I fall in love with simplicity. Singer/songwriter Jared Foldy‘s American Summer is a graceful, simple, beautiful seven-song release that is an easy candidate for my end of year lists.
It’s not just that the songs are simple, because anyone can do that. Foldy has taken great care in choosing and maintaining a specific mood throughout American Summer. The album art does an excellent job of interpreting the feel of this record: gauzy, but not opaque; relaxed, but not lazy; calm, but not uninterested. This is beautiful, beautiful music.
The sparse arrangements are light, airy, and smooth without turning maudlin or sappy; the early work of Joshua Radin and Rehearsals for Departure-era Damien Jurado come to mind. All three artists espouse a wide-eyed wonder about the world without getting maudlin or sappy. The effortless grace of Mojave 3’s Ask Me Tomorrow also is a strong touchstone, as Foldy and M3 share an elegant gravitas.
Foldy’s opener “See It All” has the gravitas and passion that only a patient, experienced singer/songwriter can draw out. The chorus-less song builds to a strong conclusion through clever use of instruments (and smart refusal to use others, like snare drum). The songwriting is strong, the performances are inspired, and the production is simply incredible to pull it all together.
The rest of the songs are more verse/chorus/verse oriented, but they are no less beautiful. Title track “American Summer” is an absolutely stunning song that leverages all the best things about the album into one piece: Foldy’s light, gentle tenor floats over warm fingerpicking in a calming, uplifting mood. It’s a lyrically beautiful song as well, gently appealing to a woman playing hard to get. It’s everything I want in a song.
“Wide Eyes” is also firing on all cylinders. Foldy’s voice and guitar playing are augmented by piano, strings and brushed percussion, merging the excellent arrangement of “See It All” with the memorable vocal melody of “American Summer.” Even though “American Summer” is my favorite tune to hear on the record, “Wide Eyes” is the one I hum to myself.
Jared Foldy has grown leaps and bounds since 2011’s Everyone’s Singing. Foldy had the songwriting skill then, but now he’s put his own stamp on the sound. American Summer is an outstanding collection of tunes that I would recommend to anyone who like beautiful music, but especially those who like folk/singer-songwriter/acoustic. I hope this release pushes Foldy into the brighter spotlight that he deserves.
Sam Buckingham‘s I’m a Bird is also a bright singer/songwriter affair. She emanates an assured, confident vibe, similar to KT Tunstall. Her guitar and often sassy voice are the main players here, with only light accompaniment throughout. But she doesn’t need a full band to pack tunes like “Follow You,” “Hit Me With Your Heart” and “Tomorrow I’ll Wear Black” with a ton of attitude.
The third of the trio is most fascinating: “Tomorrow I’ll Wear Black” tune composed entirely of Buckingham’s vocals, group vocals on the chorus, and clapping. For a song about changing yourself so that someone will love you, it’s surprisingly chipper and flirty. It is the penultimate tune on the album, and it made me sit up and take notice. It’s a great pair with the charming, cutesy “Rabbit Hole” to end the album.
In between that closing and the opening salvo “Follow You”/”Hit Me With Your Heart” is a lot of music to explore: “Mountain Sun” features a tuba and clarinet; “So Much Loving Left to Do” slows things down for a piano ballad. The tunes in the middle are less immediately arresting than the beginning and end, but when you have such high-quality tunes at the front and back, it’s tough to keep that level of excellence going on. Overall, there are very few clunkers on the album, with Buckingham bringing her A-game consistently.
Buckingham has a clear vision of what her sound and style are: she executes that vision very well on I’m a Bird. If you like strong, sassy female singer/songwriters, then you should definitely check out Buckingham’s music.
After a hectic and exciting week, it’s a good feeling to sit down at my desk and write about independent music again. It is not by accident that Everyone’s Singing by Jared Foldy is the subject of this post: his gentle folk-pop is a calming breath of fresh air.
The 25-minute Everyone’s Singing is imbued with a grace that moves it beyond its peers. The tunes don’t jar or grate in any area; they ease into my mind. This doesn’t mean the tunes are bland or “easy-listening” (worst genre name ever?); instead, they are so effectively crafted that it seems as if they’ve always been with me. The first listen didn’t feel like an inaugural. But it didn’t feel like Foldy was ripping off anyone, either—the album invokes pleasantly remembered nostalgia without camping out there. This is a rare feat.
Opener “Sleeping in the Snow” unites handclaps, harmonica and harmonies on top of a perky acoustic guitar and keyboard framework. Foldy’s gentle but firm voice caps the sound: as the songwriting goes in comfortable warmth, so goes his voice. “I Found Out” lends some minor-key gravitas to the proceedings and allows for the sweeping, beautiful sad song. Closer “The Fire Started Without You” is Bon Iver-esque in its spacious, multi-tracked beauty, while the title song adopts that same musical environment and appends some of Foldy’s most memorable vocal melodies.
Everyone’s Singing is a beautiful, refreshing album of folk-pop that employs Bon Iver-style atmospherics without being a slave to them. This songwriting aesthetic, paired with Foldy’s beautiful voice, creates a wonderful set of tunes (and an excellent listening experience).
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.