Independent Clauses | n. —unusual words about underappreciated music

Best EPs of 2015

January 4, 2016

EPs are becoming more popular than ever, and I love the trend: there’s no room for filler on an EP. As a result, a lot of artists brought their A game to the smaller format this year. Here’s to them:

1. Thanks for All Your Patience – Brother Moses. (Review) I spun this one the most often because the easygoing, almost effortless indie-rock vibe gave rise to some seamless, indelible melodies. Clean, tight, clever, and earnest, I gravitated to this one early and often in 2015.

2. On Separation – David Wimbish. (Review) Wimbish, frontman of The Collection, stripped out some of the intricate arrangements of his day job for a more intimate set of portraits that focused in on the lyrics. Elegant, haunting, and beautiful.

3. Loca EP – Valley Shine. (Review) Folk-pop can be a formula these days, but Valley Shine is all about exploding the formula with raw enthusiasm, brash melodies, and surprising pathos.

4. Magic Giant – Magic Giant. (Review) Rave-folk is a thing now (thanks, Avicii!), and Magic Giant are the next big thing on that front.

5. Linton // Oslo EP – Austin Basham. (Review) I rarely heard singer/songwriter work this assured, pristine, and strong during 2015. Top-shelf.

6. Regards – We are the West. (Review) A wisp of an EP that barely has time to meet you before it’s gone, but oh does it deliver: this Low Anthem-style Americana sounds like a warm blanket around my ears.

7. Joe Kaplow EP – Joe Kaplow. (Review) One of my favorite debuts of the year, as Kaplow showed off his versatility in several different acoustic-based styles. Looking forward to more from Kaplow.

8. Away, Away – B. Snipes. (Review) Another excellent debut that introduces Snipes’ low-slung troubadour singer/songwriter voice to the world, taking the lyrics of Rocky Votolato in a more Americana direction.  

9. Elegant Freefall – Ira Lawrences Haunted Mandolin. (Review) Lawrence turns one mandolin into an enormous array of sounds, turning out some wildly inventive pop songs along the way.

10. River Whyless – River Whyless. (Review) Gentle, quiet, and worthy of your time.

11. Your Friendly Neighborhood Demo – Your Friendly Neighborhood. (Review) Takes R&B, blue-eyed-soul, ambient, and indie-rock into something greater than the sum of its parts.

12. The Best of Times – Cable Street Collective. (Review) Do you want to dance? Because the Vampire Weekend meets the Caribbean meets UK rap sounds here are built for that. —Stephen Carradini

Joe Kaplow: A diverse, impressive folk troubadour

July 21, 2015

JoeKaplow

There’s a wide diversity of sounds you can make with an acoustic guitar and voice; being able to sing Missippi blues doesn’t ensure that you can play Irish folk tunes. Some people work to become a master at one style, while others can absorb the core elements of a variety of sounds.

Joe Kaplow is the latter, as his sound is grounded in troubadour folk with influences from a variety of other acoustic genres. His self-titled debut EP showcases a singer/songwriter with a huge amount of promise, as his songwriting and distinctive voice offer great rewards to the listener.

“Bookshop Blues” opens the release with a fast, strummed folk tune accompanied by his own foot stomping. Kaplow’s insistent, urgent tenor dances over a tune that sounds perfect for busking: an earnest, upbeat tune that balances lyrical introspection and smile-inducing melodies and chords. He follows it up with the harmonica-and-swift-fingerpicking tune “How Old is My Soul,” which evokes the raw, pure sound of The Freewheeling Bob Dylan. It stays out of tribute range due to (again) the swooping vocals, which flip from tender to insistent on a dime. This ability to control his delivery calls to mind a less-abrasive Kristian Mattson of The Tallest Man on Earth, especially in the “oh-oh” conclusion of the tune.

Kaplow can unhinge his voice, too–both “It’s Me Girl” and “When I Open Up at Last” allow Kaplow to let it all air out. The banjo-led blues of “It’s Me Girl” sees him scrubbing grit and wail into his delivery to fit the mood of the tune, while “When I Open Up at Last” contains Damien Rice-style howls. “Give My Eyes” provides a respite between the two songs, a delicate pastoral tune that reminds me of a cross between Irish folk tunes and Justin Townes Earle’s American sounds. The addition of a female voice turns this duet into a highlight of the already-strong EP.

There’s a lot going on in this self-titled EP, but it all hangs together because of the bright, mid-fi production vibe. This is clearly a man and his guitar (on most tracks), as the occasional ambient room noise, gentle tape hiss and sound of foot taps show. But Kaplow’s not reveling in the tracks’ smallness–this feels like an earnest document of work, not a bid to participate in the bedroom-folk scene. (“When I Open Up at Last” is about as far from whisper-folk as it gets.) There’s no intentional obscuring, no reverb, no distance placed between the listener and the song. These songs are immediate–they grabbed me on first listen, and they still grab me ten listens on. That’s a credit both to the songs and the way they’re recorded.

Kaplow’s self-titled EP is an energizing listen. Whether it’s a slow or fast song I’m listening to, the music is exciting. Kaplow’s well-controlled voice is employed in a diversity of styles, making for a sprightly, fast-paced 20 minutes. It’s tough to pick out highlight tracks, because each has its own charms; I’m personally partial to “How Old is My Soul” and “Give My Eyes,” but someone who likes darker, dramatic music more than I could find “When I Open Up at Last” or “It’s Me Girl” to be their highlight. It’s a rare artist who can make memorable tunes in diverse idioms, and that bodes well for Joe Kaplow. I can’t wait to see how his next releases develop. Highly recommended.

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

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