Brother Moses‘ sophomore EP Legendsbuilds on their debut Thanks for All Your Patienceby upgrading the sonics of their rubbery, laidback, Spoon-meets-Pavement indie-rock. Their debut EP was almost preternaturally chill; Raymond Richards (Local Natives) gives their sound some punch, while not losing their goofy, waltz-through-it-all charm.
The easiest place to see this is in “Older,” the lone track present on both EPs. The opening synth has become fatter, the drums are more resonant, the tempo is slightly sped up, and the guitars are brighter. The overall effect is like cranking up the saturate knob on a picture: it’s the same thing, but bigger, brighter, and warmer. Elsewhere, the saturation holds in the form of more reverb (the guitars on “Time to Leave”), more ambiance (“Crazy Eyes”), and more expansive songwriting touches (“Pretend”). Some tracks sound like post-punk; some sound like Vampire Weekend chilling way, way out. Throughout, the band is playing with what they can do in a studio, experimenting with what exactly the sounds in their heads can be with a lot of equipment at their disposal.
Closer “Please Stop” is probably the furthest push of their experiments, putting all of their sonic elements together into one track. Mashing all of their ideas into one place results in a tune that doesn’t quite sound like anyone: James Lockhart’s lolling drawl amps up to an anthemic soar over an indie-rock band that has thoroughly ingested modern indie music and spit out their own distinct version of it. It’s a fantastic tune that is more than the sum of its parts–and the parts are all pretty great on their own.
Legends is a brief six songs, but the growth and development from their first EP shows that they’ve got a lot of ideas. Brother Moses has got a great thing going, and you should jump on that.
The back half of my SXSW-agnostic MP3 drop lands, featuring quieter sounds.
1. “Hold on Hurricane” – Cancellieri. The production balances a delicate vocal performance with a crisp, fingerpicked acoustic guitar line for a moving tune that’s one of the best singles of the year so far.
2. “Comatose” – Hayden Calnin. Can you imagine The National and James Blake getting together? Calnin is the best we have of that approximation piano/rich baritone/post-dub mashup. A gorgeously evocative and theatrical (but not flamboyant) performance from Calnin. One to watch in 2014.
3. “Foreverever” – Daniel G. Harmann. DGH has cultivated a distinct mood to his solo work over the years, and this mournful cut fits neatly with his oeuvre of longing, yearning, intimate recordings. A beautiful cut.
4. “Faultlines” – Field Division. Indie folk with Local Natives’ sense of rhythm, Fleet Foxes’ vocal arrangements, and First Aid Kit’s hushed intensity & towering female vocals. Way yes.
5. “Chris Bell” – M. Lockwood Porter. A moving country-rock song for the gone-too-soon former guitarist of Big Star. If you sense Neil Young and The Jayhawks in here, you’re not the only one.
6. “Onwards” – Bird Friend. Anything that echoes the early years of The Mountain Goats’ lo-fi recordings gets my attention. That strum! That lyricism! That brash mood! Wonderful.
7. “Who We Are” – Sonali. This thoughtful female-fronted adult-alternative track shows incredible restraint: after introducing a massive hook up front, that super-catchy vocal melody appears only sparingly throughout the tune. That’s one way to get people listening.
8. “Stay There, I’ll Come to You (Sleepers Work Remix)” – Jonah Parzen-Johnson. JPJ writes spiky, intense, amazing tunes on baritone saxophone and analog recorder. This remix sees one of those tracks get a spaced-out, lush re-envisioning that removes a lot of the raw brazenness of the original.
9. “Snowy Mountain“- Sebastian Brkic. The prolific Brkic (Cyan Marble) takes a break from post-punk freakouts to drop some synthy, walking-speed indie-pop. This’ll make your head bob.
10. “Dreaming While Awake” – Professor Bashti. Brkic also does psych-inspired instrumental/experimental guitar music. Because prolific.
11. “Ellis Bell” – The Cold and Lovely. Moody, wall-of-sound indie-rock that calls up Silversun Pickups, but with a female vocalist.
I love it when a specific scene has an identifiable sound. Sometimes I don’t like the specific sound that is happening, but I love the idea that people kicking around ideas among themselves over a long period of time will come up with iterations, similarities and variations that push toward the sum. And there almost always is a sum, even if it’s something seemingly unquantifiable like an artistic movement: the pinnacle of a form does not appear on the first try, by anyone. Rockin’ the Suburbs was nowhere near the first piano-pop album, nor Ben Folds’ first rodeo; it just happens to have assimilated all the ideas that had been kicking about in a particularly excellent way.
All that to say this: the lush orchestrations, wide-eyed lyrics, group vocals and bohemian charm make The City by The 21st Century sound very much like a Pacific Northwest indie pop band (The Morning Benders/Pop Etc, Grizzly Bear, Local Natives – although they’re from LA). And instead of that being a bad thing, it’s a great thing. “We Are Waiters” has familiar elements like plunking piano and big group vocals, but they invite the listener in so the band can drop the intoxicating chorus. I had the chorus on loop in my mind for days after I heard it the first time, and that’s incredibly rare for a guy who listens to music all day.
The band makes its living on gleeful tunes that incorporate guitar noodling, horns, organ solos and a well-developed sense of space. These songs may have a lot going on, but they’re not crowded: the production allows for everything to breathe. “The Good Things (Act I and II)” is the best example of this, as the band throws the kitchen sink at the tune and it still doesn’t feel as heavy as a power-pop trio with a huge guitar riff. “A Funeral March (The State of Our Parade)” is another melodic highlight, filled out with lyrics about the meaning of life (no, for real). “The Parisian Translation” gets its Decemberists on in the melodic structures, but not so much that it feels like a rip-off. It’s just incredibly fun. (And yes, there’s French spoken in the song!)
So where does the line draw between inhabiting a sound and retreading a sound? I think the difference lies in each person’s desire for the genre, just like I mentioned yesterday: The 21st Century’s game is the same as Friends of Mine. (This style of indie-pop is just as divisive as country, and I would guess mostly for the same reasons: two parts backlash to its related culture, one part resistance to the idiosyncrasies of the sound). The 21st Century takes an established sound and builds something inside it; those with a low threshold for the genre’s quirks won’t get this and feel that it’s just some more of that stuff, while those who love the genre will enjoy the new entrant into the field.
Given that ideas ruminate and kick around, the entry of another band into the field allows for another possible group who could come up with the definitive statement (or statements!) for this genre. If you’re a fan of the type of music that The Morning Benders purveyed on Big Echo, this one’s going to make you sit up and take notice.
December is an inadvisable time to be releasing/submitting music, as bloggers are caught up in the “best of” cloud that descends over the month. But The Gorilla Press cut through the haze with their submission, which blasts off at the speed of the Foo Fighters. Nothing like thrashing drums, overdriven guitars and clanging piano to catch attention.
The assertive “On Fire” kicks off A Natural Thing (Unnatural to Me), which shows the Chicago five-piece in their finest indie-rock attack mode. But there’s a great deal of texturing and careful attention to instrument tone, which points to the band’s strong suit: a post-rocker’s sense of tension and restraint that allows The Gorilla Press to slink about as a muscled-up version of Local Natives or a Animal Collective-ized Radiohead (“The Night You Walked With Me,” “Whale in the Sea, Part 1”) when they’re not throwing down the rock.
Both of these comparisons are desirable, unless you’re one of those people who thought “My Girls” was too whatever or wishes that every Radiohead song was “Paranoid Android.” It’s not every day that a song like “To the Hills” comes along, balancing post-rock arpeggios with real muscle. They aren’t just crushing the distortion pedal; they’re laying down heavy grooves to get their power. It’s a refreshing twist that’s actually (kind of) like “Paranoid Android.”
The Gorilla Press‘s careful attention to the details of rocking results in A Natural Thing (Unnatural to Me) delivering the goods. With Chicago missing The Felix Culpa, a lot of bands are going to have to step up to the rocking plate; The Gorilla Press is a good first step toward coping with a Felix-less world. Fans of any variety of rock should take note.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.