Out of Melbourne, Australia, Nearly Oratario–aka Simon Lam–recently released his sophomore EP Tin. Tin is a refreshing combination of melancholic singer-songwriter and the avant garde. Nearly Oratario’s unique instrumentation and modest vocals create an emotive album that is both soothing and utterly enthralling.
Nearly Oratario does not truly sound exactly like anything, yet The Dirty Projectors and Sufjan Stevens do come to mind. All three artists have created sounds very much their own; in a sense, that ties them together. I also think that Simon Lam’s voice is a softer version of David Longstreth’s, The Dirty Projectors’ lead singer. Similarly, the avant garde nature of Tin is comparable to Sufjan Steven’s later experimental work.
Nearly Oratario uses different looping techniques to arrive at the album’s sound. Lam anchors each song with a primary instrument like the piano (“I Would Not,” “Devonport”) along with the guitar (“Veracity”) and keyboard (“Tin,” “Occlude”) and then builds and loops on top of it. The looping includes other instruments, random sounds through the use of an electronic launchpad, and vocals. All of these layers come together to create a sound that gives you new discoveries at each listen. Tin is a multi-layered onion, but what do we find when we peel back the layers?
When we peel back the layers in Tin, we find melancholy. The last track, “Devonport,” is the most peeled-back song off the album, with Lam primarily using a piano and his voice as instruments. The tonal qualities of Lam’s voice are a little like what happens when you talk after having cried for a bit. Yet I wouldn’t call his voice whiny; it’s way too beautiful for that. The track’s slow pace, raw use of the piano, and emotional lyrics soldify the somber sound of the song. Over and over, “It burns,” repeats throughout the track. The song then comes toward an end with an array of eerie vocals and closes on the piano.
Tin’s soothing, emotive sound and interesting instrumentation come together to create an EP I could forever listen to on repeat.–Krisann Janowitz
This set of MP3 drops aren’t arranged by any particular mood or sonic space, as I usually do. Here’s a grab bag! Enjoy the surprises!
1. “Sisters” – ELY. There’s more suspense and payoff than in most novels packed into this four-minute instrumental wonder. The trumpet leads the way throught the deconstructed verses, teasing the listener with what could be, until the rousing full-band jaunt that appears twice. Hooky, interesting, and really worth your time.
2. “Sail” – Seckar. This song has a lot going on: post-rock instrumentation, danceable vibes, electronic grooves, acoustic solemnity, ghostly vocals, and overall a giant sense of fun.
3. “Lips” – Oyster Kids. The tension between the light, Foster the People-like melodies and the slow-moving guitars gives this pop song a neat vibe.
4. “Orange + Blue” – Colored In. Chaotic, hyperactive, multi-colored indie-pop held together through sheer force of will. It’s like some alternate-universe of the Flaming Lips where they didn’t get all paranoid but continued getting weird after Yoshimi.
5. “Plastic” – Howard. The grandeur of trip-hop, the instrumentals of maximalist post-dub, and a clicky percussive sensibility lead this indie-rock track. Sounds like a version of OK Computer, 20 years later.
6. “Tin” – Nearly Oratorio. Weary, dreary, bleary, and yet capable of woozing its way to memorable melodies and comforting moods.
7. “The Mahogany Tower” – Pyramid//Indigo. Dark, brooding, and evocative, this instrumental post-rock piece includes found-sound clips of sermons for extra atmosphere.
8. “Cove” – Kerosene (UK). Vocal gravitas and spartan electric guitar levity combine neatly here to make a serious, mature indie-rock tune that doesn’t feel overburdened or maudlin.
9. “Don’t Waste Another Day” – The Moves Collective. There’s a subtly funky groove, charming melodies, a friendly vibe, and rhythms that make me want to dance. This is acoustic jam done right.
10. “My Situation” – Joseph Tonelli. This gently fingerpicked tune is already enticing before it brings in subtle percussion and beautiful strings–after that it’s impressive.
11. “I Called to Cry” – Nate Henry Baker. For those who’ve gone the Sturgill Simpson / Chris Stapleton route and decided that full-on country music is alright by you, add Nate Henry Baker to your list. This one’s a traditional tears-in-your-beer ballad that wouldn’t feel out of place with The Louvin Brothers or Roy Orbison.
12. “Maybe I Won’t Come Home Tonight” – Meredith Baker. There are millions of troubled-relationship tunes, but this one sticks out above the rest with a gentle guitar, an engaging voice, and that x factor called charm.
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.