Independent Clauses | n. —unusual words about underappreciated music

Albums of the year: 7-1

December 27, 2016

It’s been a good year of music, and these were the best I heard. With the notable exception of #7, all the quotes are pulled from my review of the record.

7. All A Shimmer – Cindertalk. This ostenstibly-indie-pop album transcends boundaries and genre labels, creating a mind-bending world of tensions: complex/spartan arrangements; huge/tiny lyrical concerns; vulnerable/brash emotive turns; dark/light moods; gentle/forceful instrumentation; gentle/powerful vocals. Jonny Rodgers’ work with tuned glass shows through consistently, but never dominates; instead, all the pieces come together into whirling, enigmatic, satisfyingly unusual pieces. If you’re into adventurous music, there was no more an adventurous album this year than this one. (full review forthcoming)

6. Mantra – Sunjacket. “Mantra is the rare “smart” rock album that isn’t hard to get. It’s weird, it’s quirky, it’s got a unique point of view, but it’s not grueling or punishing. You can listen to it through and hear the guitars and synths and take it at face value. (And its face value is great.) But for those who want to spend more time with their albums, Sunjacket has created an album full of nooks and crannies for listeners to explore.” (full review)

5. Skip a Sinking Stone – Mutual Benefit. “A beautiful, remarkable, even majestic album that bends the boundaries between folk, pop, and classical in the most pleasant way I’ve heard all year.” (full review)

4. Ghost of a King – The Gray Havens. Ghost expands “their core sound to include cinematic pop-rock, ambient art tunes, and even electro-pop. Their expansion of borders doesn’t diminish at all their continuing maturity in the folk-pop realm, as the album contains some of the best folk-pop tunes they’ve ever written. In short, Ghost of a King shows growth in every area, and that results in an incredible album.” (full review)

3. Young Mister – Young Mister. “So carefully and meticulously crafted that it doesn’t show any of the seams. An immense amount of effort went into making indie-pop-rock songs that sound effortless and natural. You can sing along with these songs, write the lyrics on your bedroom wall, or just let the experience wash over you.” (full review)

2. Great Falls Memorial Interchange – Kye Alfred Hillig. “Even though these songs deal with difficult emotions, nowhere do these songs become brittle or unrelatable–the clarity of the lyrics, the ease of the melodies and Hillig’s inviting voice make them fit like a new coat. I hadn’t heard any of these songs before, but they felt like old friends as soon as I had.” (full review)

1. Hope and Sorrow – Wilder Adkins. “An impeccable, gorgeous modern folk record that shows off the value of maturity. It’s the sort of record that stretches the limits of my writing ability, making me want to write simply: ‘Just go listen to this record. You won’t regret it.'” (full review)

Sunjacket: Weighty, thoughtful, inventive, unique

December 1, 2016

sunjacket-mantra-cover-digital

For a person who came of age on OK Computer, it’s hard for me not to jump straight to Radiohead’s magnum opus when describing rock led by minor-key distorted guitars that is intended to be taken seriously by thoughtful people. Sunjacket‘s Mantra is that sort of weighty, thoughtful, inventive, unique music. Each song of Mantra packs its own punch, but the main elements of the sound remain the same: distorted guitars, electronic keys/synths, complex percussion, and Carl Hauck and Bryan Kveton’s confident voices.

Opener “Grandstanders” shows off these elements perfectly: lush synths open the track before being set to rhythm with a complex percussion line and heavily manipulated guitar sounds. The resulting landscape bears much in common with The Appleseed Cast’s excellent Peregrine. But instead of just barreling through this mood, the band plays with space and minimalism, progressively dropping everyone out all the way down to single snare hits after the chorus before pounding back in with the full band. It’s a head-turning move, the sort of thing that announces an album. And there is much to announce.

The skittering percussion and staccato synths of “Dissolve It” float a soulful vocal line from Hauck; the fusion is disorienting in the best way. “Not Enough” starts with clanging piano before being sandblasted by a wall of fuzzed-out synth. The song then pulls back into patterned, complex mid-tempo work like “Grandstanders.” “Alligator” feels something like a mix between Bon Iver’s current work, The National, and a heart-rate monitor (this is a compliment). The title track takes all the elements of this paragraph and somehow synthesizes them.

But my award for the most fascinating track goes to “Tongue,” which starts off like a lost MIA track full of digital sounds before being accosted by multitracked trumpet and thunderous bass synth. Right about the time it starts to really feel like a mid-’00s Radiohead track, a vocal line modulated down two or three octaves mourns its way through the landscape. It’s weird and fascinating and the perfect break between the icy, stomping electro of “Habit” and the punchy, catchy rock of “No One’s Around You.”

Mantra is the rare “smart” rock album that isn’t hard to get. It’s weird, it’s quirky, it’s got a unique point of view, but it’s not grueling or punishing. You can listen to it through and hear the guitars and synths and take it at face value. (And its face value is great.) But for those who want to spend more time with their albums, Sunjacket has created an album full of nooks and crannies for listeners to explore. Brilliant stuff here. Highly recommended.

Sunjacket is about to head out on tour–if you’re near them, definitely endeavor to go to a show of theirs.

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

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