1. “All I Can Give” – Haring. Chillwave forever: bright synth washes, gentle beats, and burbling melodies. Chillwave forever,
2. “Petrol Station” – Sorcha Richardson. Right when I think that I can’t take one more downtempo electro-pop tune, Sorcha Richardson renews my faith in the genre. This is slinky, groove-laden, and funky in all the best senses of those terms. Her vocals are just so smooth.
3. “Outro (Entry Code, Dial Tone)” – Heart/Dancer. Warm, refreshing, and intimate electro pop; the male/female vocals remind of Chairlift or Mates of State.
4. “Everything” – Wall of Trophies. Brittany Jean and Will Copps return as Wall of Trophies, showing off their particular skills: whirlwinds of artsy electronic/acoustic sound marshaled by Jean’s acrobatic vocals and passionate delivery. The sonic conclusion at the end of the tune will raise your eyebrows.
5. “Surrender” – Briana Marela. Somewhere between the intimate voice morphing of Imogen Heap and the cinematic vocal loops of Julianna Barwick lies Briana Marela. “Surrender” is a burbling electro/acoustic track that relies on complex beats, layers of sounds, and delicate/feathery melodies.
6. “Ready 2 Wear” – Loveskills. What would dance music sound like if there were no drum machines or synths? That’s the question Loveskills admirably tackles here, creating a bouncy, infectious track out of piano, finger snaps, strings, and intriguing vocals. This is a great pop song.
7. “Wavering Down” – Kasey Keller Big Band. Starts off as an abstract, outsider electronic piece, ends in a bit of a hooky electro jam–all in under 90 seconds.
Here’s a batch of MP3s that I have been long remiss in posting. Also, happy Good Friday to you.
On the Fly
1. “A Warning of Sorts” – CHIRPING. Are we ever done with slick, well-produced, cheery indie-rock from Swedes? No, never. Put on your dancing shoes.
2. “Number One” – The Sideshow Tragedy. Did The Black Keys ever sound sinister? The Sideshow Tragedy has honed the blues-rock guitar/drums duo to a fine point here, packing in energy, melodies, dynamics, and (yes) even some sinister vocal vibes. Whoever can’t get behind a good tambourine needs to get this tune in front of them.
3. “Retro Bastard (KKBB Remix)” – Blood Sport. Kasey Keller Big Band turns out a remix of a song I’ve never heard, resulting in a complex pastiche of zooming digital sounds, heavy bass lines, complex drumming, and hollered vocals. Somehow, it turns into a herky-jerky dance tune, the sort of thing that mid-to-late ’00s dance-rock bands would have jonesed after. Intricate yet danceable, Artsy yet poppy? Turn that up.
4. “Sovereign Gore” – Casual Threats. Jamming post-hardcore’s dissonant aggression, post-punk’s wiry experimentation, and Interpol-esque dour melodies into one track is a tall order, but Casual Threats pull it off with confident aplomb.
5. “Unknown” – Lylit. If you have a way with a “whoa-oh,” you’re going to do well in today’s pop scene. Having an infectious groove that rides the line between dramatic and decidedly happy helps too.
6. “Lost is Found” – Perdido Key. In an age of no-nuance EDM, it’s refreshing to hear a club-ready tune with some atmosphere and restraint. It’s no surprise that it hearkens back to the ’90s–but not too much–to get that feel.
7. “Caves” – Sea Bed. Bouncy, rubbery keys give this dance tune a cool underwater feel, in addition to the boots’n’cats techno beat. (What up ’90s! Two in a row!) The vocal melody is infectious as well. This is way cool.
8. “He’s Heating Up” – Homeshake. So, this comes from an album that’s celebrating ’90s NBA basketball, which is a fantastic idea. Homeshake’s homage sounds like some unique alternate-universe version of Prince: feathery falsetto, vaguely funky mood, and affected sense of drama.
9. “Time For a New School of Alchemy” – ticktock. Glitchy electro had an idiosyncratic sort of beauty to it. This track harnesses bleeps, burbles, and chopped up sounds in the service of traditionally beautiful work that falls somewhere between ’80s synth-pop and modern bedroom chillwave.
10. “Mother of Maladies” – Marrow. I don’t know what it is about keyboards that can ground a funky song so well, but the wurlitzer gives this churning, whirling indie-rock piece a bit of solidity.
11. “Great Divide” – Humming House. Having great “whoa-ohs” helps in folk-pop too, as Humming House knows. Vocals reminiscent of The Avetts’ power this energetic, enthusiastic gem.
12. “When I Rise” – Diamondwolf. Percussion is real important in alt-country, and the stomp-clap drumming makes the mood here. The zinging pedal steel and heavy acoustic strum help too, making this into a powerful stomper of a tune.
13. “Ghost Town (Acoustic)” – Justin Klump. Klump’s voice has some of the trembling passion of Needtobreathe’s Bear Rinehart, but it’s set in a poignant, sentimental acoustic pop arrangement featuring cello and gentle banjo.
14. “Strong” – The Paper Shades. In the midst of this hurried and harried world, we need gentle singer/songwriter duos to tell us to “slow it down.” Unspool your stresses and let the gorgeous waves break kindly over you. Here’s to those who are still carrying the torch of calm.
Tulsa’s finest totally unclassifiable wunderkinds Jacob Fred Jazz Odyssey are back for their 26th album, Worker. Taking a break from longform work after several years of work on The Race Riot Suite, JFJO are delving into their indie-rock and hip-hop influences. The ever-evolving, piano-led trio spends the bulk of Worker writing short songs full of grinding noises, synth blasts, abrupt shifts, and funky breakdowns.
“Appropriation Song” seems to be self-aware in its pilfering of noises, melodies and rhythms from other genres. “Better Living Through Competitive Spirituality” uses old-school analog synths to create one of the coolest tracks I’ve heard in a long time. It’s got jazzy influences, but it’s essentially a post-rock song. Furthermore, it could be the backing track to some really impressive alt hip-hop; it would be incredible if they got some rappers to create some remixes on this track in particular. “Bounce” could also work brilliantly for a hip-hop remix, as it already has the rhythmic tensions present in great hip-hop.
JFJO is a fascinating band: 20 years into their run, they’re putting out work that’s just as challenging (if not more) than their early or mid-period work. They may not have much of the “jazz” from their name left in their sound, but they do have one trait of great jazz musicians: they’re getting better with age. Worker is a challenging, engaging, rewarding listen that will please fans of experimental, adventurous post-rock. The album drops tomorrow, October 14.
The Widest Smiling Faces‘ Sin Waves is also difficult to describe, but in a completely different way from JFJO. Sin Waves is a 33-track album of dreamy, woozy, reverb-heavy, gentle tracks. Only 6 of them break one minute, though; TWSF prefers to cast off tiny, impressionistic swatches of sound that lean heavily on meandering solo fingerpicked electric guitar. Especially in the back half of the album, listening to Sin Waves is more like wandering through a lovely art gallery that plays sounds than listening to songs.
There are six longer pieces that approximate the standard definition of song. In contrast to the largely instrumental sound swatches, the longer pieces feature Aviv Cohn’s mumbling, whispering, feathery voice. “Rip Me in Half” pairs guitar and voice with some distant, muffled drums to pleasing effect; “Oil Pastel” has a disarmingly straightforward guitar lead before it gets layered upon with more guitars and voice. Cohn is fully capable of writing longform; he just prefers to do elsewise.
Sin Waves is an album in the truest sense of the word: it’s a collection of things that are meant to be heard together. I don’t see a lot of point in listening to this work outside its whole: the entirety of the work is needed for the experience to be fully appreciated. If you’ve got a half-hour that you want to spend in dreamy, ethereal mode, this album should be in your life.
Music for Abandoned Podcast by Kasey Keller Big Band shares the genre-demolishing tendencies of JFJO and the short runtimes of TWSF, making for a surrealistic, madcap 10 tracks in 10 minutes. Keller likes to group strummed instruments (ukulele, nylon-string guitar) with gritty synths, beats, and droll spoken/sung vocals, as in the eerie “Wardenclyffe” and bizarre synth-pop of “Usain Bolt.” Opening track “RIC” is almost two minutes of melodic synth-pop jams, showing a rare, impressive conventional turn from KKBB.
Sometimes elements of his sound are dropped out: “Mosaic History” is a straight synth-pop jam without strings, “Glottal Stop” removes the vocals for 30 seconds of the most intriguing instrumental hip-hop I’ve heard in a while, and “New Knees” is a lo-fi acoustic-and-voice moment. But overall, this is an experimental release that plumbs the depths of acoustic/electronic interaction by juxtaposing them in gritty, raw, unusual ways. If you’re into experimental music, jump on this.
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.