Jeremy Tuplin‘s Open LettersEP is a gorgeous, swooning, romantic EP that takes full advantage of his lush baritone. Tuplin surrounds his arresting voice with gentle acoustic folk arrangements, all fingerpicking, pump organ, and background strings. The songs are leisurely, unfolding slowly; they’re not dirges, but they certainly aren’t going anywhere quickly.
Standout “Time’s Essence” is a beautiful slice of modern folk that will resonate with those who love The Low Anthem and The Barr Brothers, while “The Morning Sun” has the distant notes and atmosphere of a Gregory Alan Isakov tune. Tuplin’s Open Letters EP creates a tight, careful, ornate beauty over five tracks. It sounds effortless, which is a grand achievement.
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.
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.
I blew up my computer a few weeks ago, resulting in the lack of posts. I apologize for the deathly pallor that seemed to settle over Independent Clauses. It’s been a pretty crazy few weeks. I get my new computer Friday, and we should be rolling again.
I love and hate live shows. Transcendent, life-affirming and soul-expanding are all phrases I have lavished on excellent sets; soul-crushing, abrasive and interminable are all words with which I have belittled terrible performances. A thoroughly average act skews more to the interminable side, which means the room for error is large.
Making matters even more sketchy is this all-too-common occurrence: that band with lovely recordings which smushes my expectations into the dirt with a reprehensible live show. One band that shall remain nameless suckerpunched me twice: the first set I saw was so awful that I incorrectly passed it off as “an off night” and felt optimistic going in to the second set a year later, which ended up being exponentially worse. I don’t listen to that band any more.
And yet, through all of this potential for letdown, I keep anticipating live shows (I’m resisting a comparison to love and relationships). That anticipation has translated into a new and ongoing project: I’m going on a quest to see all top twenty of my most-listened-to bands (according to my Last.FM). Here’s the list, complete with current statuses. Bold indicates I have plans to see them before the end of the year.
1. The Mountain Goats (1,063 plays) – Seen twice, once in Norman and once in Dallas 2. Sufjan Stevens (1,010 plays) 3. Novi Split (597 plays)
4. Coldplay (490 plays) – Seen once: Ford Center, Oklahoma City.
5. Damien Jurado (487 plays) – Seen once: Opolis, Norman.
6. Joe Pug – Seen once: The Conservatory, Oklahoma City.
7. Low Anthem – Seen once: Rose State Auditorium, Midwest City.
8. Elijah Wyman
9. Death Cab for Cutie – Seen once: Cain’s Ballroom, Tulsa.
10. Relient K – Seen 4-6 times, various Tulsa and Oklahoma City locations.
11. Josh Caress
12. Owl City – Seen once: McCasland Fieldhouse, University of Oklahoma, Norman.
13. Josh Ritter
14. Rocky Votolato
15. Switchfoot – Seen once: Cain’s Ballroom, Tulsa.
16. Bleach – Seen 3 times: various Tulsa locations. RIP 17. Mumford and Sons
18. The Avett Brothers – Seen twice: Austin City Limits 2009; Rose State Auditorium, Midwest City. 19. The Tallest Man on Earth 20. Before Braille – RIP
And to get myself back into writing about music, I’ll be writing about each of the bands, in order.
There are artists in this world that cut a huge swath across their genre. They’re the Bob Dylan, Arcade Fire, Death Cab for Cutie and Shins-type bands; their sound is so distinct that it’s hard for them to escape it, much less anyone who sounds like them. This is a shame, because as any hipster will tell you, Nirvana wasn’t the first band to sound like Nirvana. There were people before and after Nirvana who sounded just like ’em, but those before didn’t get the glory and those after glommed onto the glory without earning it or were shunted to the side as copycats.
I hope that Derek Porter can fall into the former category; it would be easy to shove him aside as a Bon Iver disciple, but that’s not a fair judgment. There are striking similarities in the folk tunes of the two men: both have a rustic sound, favor spare arrangements and feature a high, trembling vocalist. But where Bon Iver makes paeans to the cold desolation of heartbreak, Derek Porter’s Strangers, Vol. 1 is a humble and inviting exploration of memory.
It’s probably good that these tunes aren’t as wholesale despair-laden as Bon Iver’s work. I don’t know if I could take much more of that. I much prefer Porter’s lively, bluegrass-inflected “I Remember” to the atmospheric density he employs in “All I Know Will Be Forgotten.” When “I Remember” drifts off into a weary haze, it still doesn’t meander into navel-gazing depression. This is because Porter takes careful care of the moods he creates; he’s not creating standard depressing fare, but his strength is still the moods he is putting out.
“I Forgot” is a cheery, wide-eyed tune, incorporating an accordion to great effect. It doesn’t have the direct, powerful melodies that some bands make their living on, but the overall mood cultivated is just as satisfying in this and other cases. There are good melodies sprinkled throughout, but the moods are much more consistent and thereby more praiseworthy.
Derek Porter’s Strangers, Vol. 1 is a solid EP. If you’re big on atmosphere (or a film scorer), Derek Porter should jump high up in your queue. He’s got a composer’s ear and skills. The tunes aren’t as direct, clear and elegant as Avett Brothers or Low Anthem tunes, but his command of mood transforms a room. It will be interesting to see if he develops his melodic prowess in the future or whether he pours himself even more into the atmosphere work. No matter which way he goes, Strangers, Vol. 1 is a great EP to put on during a lazy day and just be with.
The best artists have distinct phases of their work. Some confine their phase to a single album (i.e. Coldplay), a few albums (Radiohead), wide swaths of albums (The Mountain Goats). Some artists jam all of their phases together (uh, Low Anthem? Are you a rock band or a folk band?).
Gerard Daley, longtime member of The Stuntcar Drivers and Delta House (two bands I’ve never heard), decided to release all of his solo demos from a nine-year period on one CD and call it Diff’rent States. The overlying problem is not his songwriting skill, but the fact that there are an incredible amount of genres and moods on this CD. It’s very clearly a collection of demos. For a person who doesn’t have a love affair with either of the main bands, it’s difficult to muster up enough enthusiasm to power through the myriad of mood changes to make sense of the material.
And I do mean myriad. There’s Counting Crows-esque pop (“Diff’rent States”), a downtempo Pink Floyd-esque number (“Romantic”), punk rock with shoegaze-style vocals (“Superstar”), folky protest tunes (“Stranded Generation”), and a pensive acoustic guitar track with the sound of the waves playing through the entire track. That’s just the first five tracks.
The three things that are constant on Diff’rent States are Daley’s prowess with an acoustic guitar, his lyrical themes and his vocals. Whenever he drops the distortion and goes for the acoustic, his results are solid and enjoyable. His distorted tracks can not consistently lay claim to that honor. From the dramatic beginning of “Buildings” to the romantic “My Lady” to the full-band folk of “The Wrongness of Righteousness,” the results of the acoustic-heavy tracks are just more reliably good than their distorted brethren.
The lyrics are consistently searching throughout. He talks consistently about seeking out truth, understanding what he believes, and questioning perceptions. It’s a refreshing change from breakup albums and love songs, which is what I’ve been encountering tons of lately. Not that there aren’t love songs here (the aforementioned “My Lady”), but it’s not the main focus. And that’s nice.
Daley’s vocals are consistent as well. He has a folk-singer’s voice; it breaks, it cracks, and it generally isn’t perfect. If you’re into the Bob Dylan sound, you may even find Daley’s vocals endearing. If you think that Bob Dylan was one of the worst things to happen to pop music (and there are those people), you should not check out Daley. You will not be pleased.
Diff’rent States is the type of release I would be all over if one of my favorite bands released it. Nine years of unheard demos is just a treasure chest of unheard ideas. But if you’re not familiar with the original work that made the artist worth listening to in the first place, it’s like looking in someone’s attic to try to get to know them. It doesn’t make much sense. There are some good tunes here (“Stranded Generation,” “Forgotten How to Fake” and more), but it’s just hard to “get” it.
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.
