The mix of an album can tell you a lot about the priorities of its creators. Dylan Dickerson’s frantic, fractured voice is cranked about as high in the mix of Dear Blanca‘s Pobrecito as possible, which tells me that they care about the raw, ragged, real aspects of performance. Look no farther than the wordless, anguished roar that is the chorus of “Showplace” for proof. The intense alt-country songwriting behind the pipes matches Dickerson’s careening, manic vocal quality. In other words, Conor Oberst and Dickerson would have plenty to talk about.
But like Bright Eyes, Dickerson and co. aren’t all raging fury. The (relatively) pensive “Noma” includes a musical saw that gives the tune a Neutral Milk Hotel feel (Mangum, of course, being another vocalist who celebrated the rough edges of his non-traditional voice). Dickerson can write a pop song, too: “Huff” has a great guitar riff and a (relatively) restrained vocal performance. But it’s loud, noisy alt-country rock that is his natural home, which is why even the rhythmically tight, acoustic-led “Priscilla” turns into a torrent of guitar distortion and a repeated hollering of the titular character’s name in the chorus. Closer “Cadmus” starts off quiet with acoustic guitar, organ, and female vocals before introducing pounding toms into the tune. Hey, if you’re good at a thing, do that thing.
You like the stomping work of the Drive-By Truckers? Dear Blanca is like the Drive-In-And-Stay-In-Your-Front-Yard-Yelling-Until-You-Come-Out Truckers. Pobrecito is a sweat-drenched, passionate, powerful set of noisy alt-country tunes that will occasionally give you shivers.
The mid-’00s were a good time for indie-pop music, with bands like Annuals, Decemberists, Grandaddy, and the Shins purveying a very particular type of giddy, instrument-stuffed pop music that wasn’t being well-represented on the radio. Koria Kitten Riot picks up that torch of shiny, acoustic-led, maximalist indie-pop on Rich Men Poor Men Good Men. It’s the sort of album that includes coconuts imitating horse clip-clops in a way that sounds totally natural (“The Lovers That You’ve Never Had”). It’s twee without being overly cute in the vocals, or serious vocals with a whimsical touch to the arrangements.
“A Last Waltz” stands out as one of the highlight tracks not because it’s particularly more charming that the rest of the tunes here, but because it’s a touch darker. The rest of the album can flow together as one wonderful experience, but track three points itself out as a great track by showing the diversity the band is able to deliver (while still not damaging the flow of the record). “Today’s Been a Beautiful Day” nicks not only the sound but the joyful irony of the era, pairing one of the most chipper melodies and arrangements on the record with a song about a person who gets hit by a car and dies. (Oops, spoilers.) Follow-up “Carpathia” sounds a bit like a brit-pop tune, what with the wistful reverb, processed strings, and discrete acoustic strumming; it’s a nice change of mood that stands out as a highlight.
If you’re into cheerful, instrument-stuffed indie-pop, you’ll find a ton to love in Koria Kitten Riot. You can listen to the whole album and let it wash over your mood, or you can listen to individual tunes; it matters not. It will make you smile either way.
Bishop Allen was also doing quirky indie-pop in the mid ’00s, and they’ve since gotten a bit noisier than their indie-pop masterpiece The Broken String. I think they still count as indie-pop on Lights Out, but they’re certainly creeping closer to power-pop.
They make it clear with opener “Start Again,” which is all buzzy synths, classy dance-rock guitars, and propulsive percussion. “Bread Crumbs” makes the dance-rock vibes even more explicit, putting together a wicked bass groove, a protoypical piano hook, and a minimum of lyrics. (And, because this is Bishop Allen, there’s also a bass-heavy horn section.) “Crows” involves some of their traditional quirky rhythms (Latin/island, a la “Like Castanets”), chill melodies, and pristine arrangements, but with a funky bass line. It’s way fun. “Skeleton Key” is another funky tune that’s worth remembering.
The overall sound of Lights Out is more matured, even with the dance-rock tendencies: it’s a poised, refined musicality that runs through the record. The lyrics reflect that aging as well; there are more references to hard times, the existential crises of adulthood (“No Conditions”), and that most adult of rituals: leaving the party early (“Why I Had To Go”). But they never get heavy-handed, morose, or grumpy. It’s a band that grew up, but kept their pop song skills with them. Mazel tov! Here’s to Bishop Allen: long may you write.
My favorite genres are acoustic folk, indie-pop, and indie-pop-rock, so it makes perfect sense that a North Elementary / Jesse Marchant / Bishop Allen show was my favorite I’ve been to all summer. The three bands converged on Carrboro’s Local 506 for a Sunday night show that didn’t disappoint those who stayed up late the night before the local university started back to school.
I caught about half of the set from local indie-pop-rockers’ North Elementary. I would have caught more of it, but I never expect any venue to start on time. (Props to Local 506 for starting at 9 when the poster said 9.) Their enthusiastic, noisy, occasionally jubilant rock was fun to hear; closer “Hi-Lo” was especially smile-inducing. The guitars were noisy but not overly heavy; there’s a lot of levity in their tunes. As a bassist, I particularly enjoyed the great low end lines laid down by Jimmy Thompson.
After knocking some of the rust off my concert-lacking ear drums with North Elementary, Jesse Marchant, also known as JBM, soothed my ears. Marchant’s calm, relaxing solo set was an astonishing success, especially considering that he was sandwiched between two loud bands. (He’s on tour with Bishop Allen right now, which I think is cool: I’m a big fan of cross-genre tours.) Marchant’s songs feature the delicate intimacy of Gregory Allen Isakov’s work, but also have a deep grasp of space and mood that reminds me of Jason Molina’s work. Those two songwriters are some of my favorite in my 13-year music-reviewing career; Marchant’s sound was on par with theirs.
His melodic skill, songwriting maturity, and instrumental dexterity are all sky high. Some quiet bands don’t know how to keep attention; Marchant kept me riveted to everything that he played. His new album comes out soon, and I’m very excited for it: his set was one of the most enjoyable I’ve seen all year. If you like quiet, emotional songwriters that can keep you hanging on every note, you need to know JBM (the name his old work is under)/ Jesse Marchant (which the new album will be under).
You’d think it would be hard to top that sort of set, but Bishop Allen is a special band to me. I don’t often indulge in personal backstory for reviews, but BA requires it. Seven years ago, I was an undergraduate at the University of Oklahoma, doing my best to try to figure out my place in the world. I had a best friend, a mentor, a boatload of acquaintances, and a never-ending stream of girls I liked but never managed to date. My best friend was in pretty much the same boat. In the midst of this very normal college experience, he and I went to Guestroom Records in Norman, Oklahoma to get something to listen to. We didn’t have anything in mind.
After scouting through the store, I found Bishop Allen’s The Broken String. I know I liked the cover; this may have been the only reason I bought the album. (Maybe Paste had put Bishop Allen in a sampler; RIP, Paste printed edition.) We bought it, put it in my SUV, and started driving around the city to listen to it. It was amazing. (It is still amazing.) We did this several more times throughout that year, chasing the ennui away with “The News From Your Bed” and “Like Castanets.” It is a major touchstone in my life.
We were obsessive liner notes readers–me because of The Mountain Goats. We discovered during our first listen to the album that The Broken String had been recorded in Norman, OK–the very town we were living in. This odd coincidence was enough to cement my already burgeoning fanboyship into a full-blown crush on the album. I enjoy the rest of the Bishop Allen catalog (especially the tune titled “Oklahoma,” for obvious reasons), but The Broken String will always be where it’s at for me.
Fast forward to now: Bishop Allen is back with a new album after five years off. Lights Out is a real fun record that I’ll be reviewing soon. Even though I couldn’t get a review done by the time the show rolled around, I wanted to go hear them perform live. Maybe they’d play one or two Broken String songs. I was thrilled by the end of the set: they played almost half the record (5 of 12 songs). So everything you read from this point on is going to be colored by the fact that I heard almost half of one of the more important albums in my life played. They could have played in pitch darkness and I would have been thrilled.
It was a thrill for hardcore fans of Bishop Allen, but I think it would have been a great time for new fans too. BA’s lyrics are often wry and funny, which was reflected in vocalist/guitarist/songwriter Justin Rice’s stage banter. The band ripped through traditionally quieter tunes with extra noise and energy, which made “Rain” in particular into a mini-anthem. With those slight updates to the older material, their new songs fit pretty seamlessly into their live show. The highlight of their new material was the funky, dance-oriented “Breadcrumbs,” which was a lot of fun to dance along to. I and several others were getting into it, dancing-wise. It was a blast–chipper music, fun stage banter, dancing, and singing along to my favorite songs. How can you ask for more?
Bishop Allen’s Lights Out is out now, while Jesse Marchant’s self-titled new album comes out September 9. North Elementary’s Honcho Poncho was released earlier this year.
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.