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)
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)
Alex Ross makes a compelling case at the beginning of his second book Listen to This that a large group of classical music’s proponents have been systematically enshrining older music as better, minimizing the praise of modern composers, and insisting that classical music is dying for over 200 years. He then performs a deconstruction of this mentality by discussing everyone from Mozart to Bjork, from Schubert to Sonic Youth, with the same critical lens in one so far deeply enjoyable tome. (I know a book is good when I can’t even get all the way through before I want to talk about it; I’m a little under halfway through its 345 pages.) That sort of “toss out the rules” mentality should be applied to Mutual Benefit‘s Skip a Sinking Stone, which draws just as much from “classical music” as it does the folk-pop of the outfit’s immediate history to create a beautiful release that transcends both labels.
The first thing to note about Skip a Sinking Stone is that strings are almost omnipresent. They are employed in a multitude of ways, from huge riffs to quiet melodies to subtle background work to mountainous crescendos reminiscent of John Luther Adams’ slowly unfolding work (which also gets loving treatment in Listen to This). Their use is not auxiliary, but essential: they largely lay down the sonic palette that Lee paints with throughout Stone. Look no further than the title track, which follows an instrumental intro, for evidence: the strings carry the weight here, building the base of the song and owning the highest points of excitement almost by themselves. It’s deeply unusual to hear strings so thoroughly integrated into a sound taking place in the popular realm: instead of an orchestra supporting a pop song (as has been done expertly by everyone from The Arcade Fire to The Decemberists to The Collection), the orchestra and the pop song are coterminous; they are part and parcel of the same thing. They are inseparable in listening and in criticism.
As a result, Stone has a unique mood and temperament throughout: it feels organic, bright, almost alive. The sense that it has grown up out of the earth and become a rose-filled garden strikes me in almost every song. “Lost Dreamers” has the warm, mid-tempo feel of a gentle walk with a good friend; “Not for Nothing,” the closest thing to a folk-pop song presented here, is a subtly magnificent piece of work that induces swaying and smiling. “Nocturne” gets literal and includes the recorded sounds of a forest in a delicate interlude. The incredible secret of Stone is not just that it feels deeply organic, but that it manages to fold in electronics to heighten the sense of earthiness instead of divorce from it. Fluttery synthesizers come in with the piano and strings on the opening instrumental “Madrugada,” helping to create the oversaturated-with-light vibe. (Synths/theramin-sounding-like-synth has another moment on the carefully constructed, dusky ballad “Many Returns.”) It’s a rare fusion that comes off as more than the sum of its parts, creating a beautiful sonic space.
The strings’ ubiquitous presence in that sonic space is matched in importance only by sonorous piano and Jordan Lee’s delicate voice. Lee does use his acoustic guitar in some of these songs (“Slow March” and “Many Returns,” most notably), but the piano is the most valuable player here. By taking his folk-pop songwriting sentiments and translating them to the piano, he has created the ability for his songwriting to be infused with strings to the great degree that it is. It’s not to say that a meshing of acoustic guitar and strings can’t happen–but here the delicate yet solid presence of the keys matches the fluttery yet concrete nature of the strings beautifully. It’d be easy to point to “City Sirens,” which contains only piano and strings, as proof, but the better example is the majestic “Skipping Stones,” which would be a considerably different song if it were played on acoustic guitar.
Lee’s voice is the last major element here: his delicate, innocent-sounding tenor conveys wide sweeps of emotion without resorting to dramatic lengths. Through strong development of melodies, careful use of background vocals, and a keen sense of how to arrange the band for maximum vocal effect, Lee gives his voice power without ever losing its wide-eyed sense of wonder. The performance of the vocals throughout echoes the damaged but insistent hope that plays throughout “Skipping Stones” and the rest of the album: Lee’s vocals can go from assured to lost to hopeful and back through all those emotions in a single section of song. His voice never strains or grasps for notes, fitting beautifully into the bright, light, lithe sonic environment he has created.
Skip a Sinking Stone has so much to admire that I can’t fit it all into one review; I didn’t even get a chance to touch the lovely lyrics or the smart percussion. It’s 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. If you’re into bands with orchestral aspirations (Lost in the Trees, Sufjan Stevens, The Collection, et al), you will absolutely love this record. It’s going to be high on my list of albums of the year, for sure. Highly recommended.
This video is cute and also painful for anyone who’s ever been in the friend zone.
These Peaches’ clip for “So Glad” is a similarly romantic track, but from the opposite end of the spectrum–trying to find and reconnect with someone you love (either in a literal or metaphorical sense). These Peaches has a headlining set at Township in Chicago tomorrow, so hit that up if you’re in town.
Mutual Benefit’s “Not for Nothing” is another beautiful clip animated in an unusual style that tells a romantic story. The tune here is gorgeous, as well.
Samuel Alty’s “Heart Song” has a wonderful, quirky video in which normal people get up and dance spontaneously in what seems like the most chill / fun club I’ve heard of in a while.
Andrew Adkins’ “Consisting of Love” clip features two dancers gently going about their work to his equally gentle acoustic-pop. I love it when the clip genuinely complements the song.
All Dogs’ clip for “Sunday Morning” is an inversion on the “it was all a dream” and the “suddenly paint is everywhere” tropes, and it’s a lot of fun, as a result.
Sean McConnell’s Cold Country harvests the “deep in the woods” vibe that projects like Mutual Benefit and Fleet Foxes employ and puts it to intimate use. Tunes like “Letter to My Daughters” and “To Providence” make The Fall EPthe sort of project where I feel like I’m getting to know McConnell instead of listening to a recording of him: his concerns are domestic, personal, and honest. The open-hearted lyrics are delivered beautifully by his unassuming, slightly imperfect high-tenor voice.
The sensitive, gentle-yet-sturdy arrangements complete the picture. Instead of the heavy strumming of Fleet Foxes, McConnell leans much more on an intricate latticework of instruments to create fullness: twinkling keys, lighthearted synth, distant electric guitar, fingerpicked acoustic, sparse drumming, and occasional female backing vocals all work together to create tunes like the beautiful “Song of Return” (which even includes tasteful autotune!) and “To Providence.” It’s a gorgeous EP that manages to sound rustic without being vintage, and earthy without being sparse.
House Above the Sun‘s self-titled EP splits the difference between quiet acoustic work and ’70s-style acoustic rock with strong lyrics on top of both. “Footsteps” and “Love’s Ugly Twin” focus on the acoustic stylings of Jim Moreton, featuring his unadorned voice, immediate melodies, and simple strumming. “(He’s Still) My Flesh and Blood” and “Dangerous Thing to Love” get a bit crunchier, with distorted electric guitar, kit drums, and a more rock-oriented approach.
Both sonic arrangements serve as strong platforms for Moreton’s lyrics to launch from: he’s concerned about difficult types of love on this EP. “(He’s Still) My Flesh and Blood” recalls the painful tale of trying to get through to a family member who you just don’t connect with and won’t connect with you; “A Dangerous Thing to Love” discusses the difficulties of loving someone romantically (“it’s not an intellectual thing, to love”). “Love’s Ugly Twin” deals with the aftermath of a relationship with a brother/friend, while “Footsteps” points to the inadequacy of the narrator to love Christ as well as he’d like. The thorny difficulty of the lyrical content contrasts against the smooth, polished arrangements for a pleasing listen. If you’re interested in lyrics-first acoustic work with a bit of a rock edge, House Above the Sun should be on your to-hear list.
Devin James Fry (Lord Buffalo, Salesman) is a busy man, but he’s taken a break from those two wild pursuits to drop the pensive, ruminative Headwater Songs. The 9-song album is a pleasantly stark affair–most tracks are just his smooth tenor voice and a fingerpicked instrument (guitar or banjo). The dual tragedies that inspired this album (the fire and floods that have happened this year near Canon City, Colorado) give the album a hushed sense of calm, as if Fry is surveying the damage to his beloved hometown. Some songs deal directly with the disasters (“After the Royal Gorge Fire,” “Headwaters (Song for Gatherer)”), while others deal with the incidents more indirectly (“Real Fire”). The whole album flows seamlessly, as if the songs flowed out of Fry like the waters they chronicle. Keening falsetto, intricate picking guitarwork, and a deep sense of patience characterize these tunes. If you’re up for some gorgeous, spartan acoustic songs, Headwater Songs should be on your to-hear list.
On the far opposite end of the spectrum in acoustic music is Mutual Benefit’s Love’s Crushing Diamond, which is a full-on chamber-pop experience. Sure, there are banjos and guitars, but there are violins, electronic sounds, and intricate arrangements that create gorgeous pile-ups of sound. This is an album that washes over a room, transforming the tone from normal to slightly more warm and comforting. Jordan Lee’s gentle voice is the perfect foil for these tender tunes, bringing out all the sweetness that can be extracted from them. If Bon Iver turned his attention to love instead of its loss, or Sufjan Stevens was less idiosyncratically percussive, or if the Low Anthem indie’d up a bit more, you’d have Mutual Benefit. This is just an absolutely gorgeous record that deserves your attention. A year-end gem.
Scott Fant‘s singer/songwriter tunes are rough-edged without getting gruff. Fant writes with just him and a guitar, giving the tunes on Goatweed Bouquet a raw, earnest feel. These tunes would feel at home at both a Tom Waits-ian bar (“Bottom of the Hole”) and a Budweiser-toting honky-tonk (“Don’t Touch That Dog,” “Walk in the Light”). There are also some ballads intermingled among the upbeat tunes, best exemplified by the pristine guitar work of “Adagio for the Lonely.” Shades of David Ramirez, Counting Crows, and old-school country come through in the short runtime, showing Fant a diverse and interesting songwriter. Very different than Headwater Songs in mood, these songs are meant to be heard live and maybe even sung along to–especially if you’ve got a cold beer in your hand.
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.