1. “Home Away” – Valley Shine. This song excellently combines two things I love: enthusiastic folk-pop and Graceland-style African music influences. It’s the sort of jubilant yet suave work that transcends genre barriers and should be appreciated by people across the pop music spectrum. Just a fantastic song.
2. “Brother” – Jack the Fox. Doesn’t need more than an acoustic guitar, some warm pad synths and an arresting voice to totally take over a room. It’s quality on par with Josh Ritter and Fleet Foxes, but doesn’t sound like either artist.
3. “One Day I’ll Be Your Ears” – Mateo Katsu. Ramshackle, enthusiastic, chunky, herky-jerky acoustic indie-pop from the school of Daniel Johnston and Page France. It’s the sort of charmingly off-kilter work that lo-fi was meant to celebrate.
4. “Lil to Late” – Brother Paul. Here’s a fun, easygoing acoustic blues shuffle with hints of rockabilly, vintage country and self-deprecating humor sprinkled throughout. It’s topped off with just the right amount of Motown soul-style horns.
5. “The Time It Takes” – The Show Ponies. This Americana outfit sounds like a Joe Walsh moonlighting as the leader of a Nashville country outfit: saloon-style piano, radio-rock ramblin’ vibe, and male/female duet vocals straight off your local country radio. It’s not usually what I’m into, but it hooked me and kept me.
6. “Return to the Scene” – Aaron Atkins. Weary yet sturdy, this alt-country/folk tune ambles along on the strength of great rumbling bass lines and a convincingly-achy vocal performance.
7. “Phoenix Fire” – Simon Alexander. From the Josh Garrels/Hozier school of intense singers comes this thoughtful, mature pop song with a great chorus.
8. “Melody, I” – Pluto and Charon. A warm, intimate acoustic performance that retains the fret squeaks and string buzz. It’s more rough in its fidelity than Damien Jurado ever was, but it has a similar sort of vibe in the dignified vocals.
9. “Waterski to Texas” – Budo and Kris Orlowski. Now this one really does sound like Damien Jurado, but the latter-day Jurado. Budo and Orlowski walk a fine line between big, sweeping arrangements of singer/songwriter work and a very personal, even raw, emotive quality. The vocals here are particularly fine.
10. “Gold Ring” – Redvers Bailey. This one’s a lovely, romantic, gently layered song that floats somewhere between Josh Radin’s delicate work and the wide-eyed wonder of “Casimir Pulaski Day”-style Sufjan Stevens.
11. “High Rolling” – Jake Aaron. This acoustic instrumental manages to be complex and inviting at the same time, subverting expectations by not just jumping to the highest treble notes for the lead melody. By keeping the melody low and close to the fingerpicked foundation of the piece, the tune feels both comfortable and complicated. It’s very worth your time, even for those who aren’t generally into acoustic instrumentals.
1. “Galatians 2:20” – The Welcome Wagon. TWW is almost genetically engineered specifically to be a perfect fit with my musical tastes: acoustic-based indie-pop married duo inspired to start a band by Sufjan Stevens who sing humble yet joyfully melodic tunes (often with many voices) whose lyrics are sometimes entirely Bible verses (as in this one). I love it all. If you do too, hit up their Kickstarter.
2. “Be My Girl” – Anna Lee Warren. Warren’s strong, clear alto voice is the centerpiece of this vocal/ukulele/stand-up bass/shaker piece, and it shines bright.
3. “The Swells” – Second Husband. A joyful little ditty about (potentially metaphorically) being eaten by a shark that includes a very Juno-esque flute solo and overall attitude.
4. “When I Arrive” – Bryan Diver. Somewhere between Needtobreathe and Josh Garrels lies this high-drama folk tune with an arresting chorus.
5. “Cold Fact” – I Have a Tribe. Gentle trembling at the top of some vocal notes gives a sense of a particular type of intimacy; not theatrical but not entirely restrained either. Just honest, in a certain way. There’s a very European precision about the spacious indie-pop arrangement here.
6. “Uncomfortably Numb” – i.am.hologram. A hypnotic acoustic guitar line that sounds more like a sitar than a six-string anchors this song. Nihil’s barely contained, sneering voice provides an astute counterpoint to the instrumental base.*
7. “Over You” – Pony Hunt. A vintage walking-speed country loll, but fronted by a clear-eyed alto voice, doo-wop background vocals, and delicate–even sweet–pedal steel.
8. “Eggs and Toast” – Redvers Bailey. This charming, quirky, jubilant ode to breakfast food reminds me of the melody of the Boss’s “Dancing in the Dark.” Pretty much everything else possible is different.
9. “Stay a Little Longer” – Knaan Shabtay. Passenger’s vocal style meets a sped-up version of Josh Radin’s delicate intricacies in a charming, engaging tune.
10. “dirt” – Andrea Silva. It’s amazing how arresting a subtle voice, a guitar, and reverb can be.
11. “Used to Be” – Luca Fogale. A dreamy, lovely tune about running out of nostalgia that nonetheless has a deep sense of memory running through it.
12. “Settle Down” – Dark Mean. Jason Molina and Bonnie Prince Billy would approve of this moving, slowly-unfolding tune constructed of simple elements that are imbued with huge emotional importance.
13. “The Thrill of Loneliness” – Honey Stretton. Goes hard for the pastoral feel: a burbling brook, various animal/insect noises, and the hiss of the outdoors accompany a meandering guitar and a fluttering female vocal. You’ll probably want to walk outside after hearing this–it won’t be as pretty as the sonic picture (unless you’re very lucky locationally).
14. “UURKIDNI” – Emily & the Complexes. Most of E&tC’s work is distortion heavy indie-rock, a la Silversun Pickups and the like. But this is a gentle yet sturdy love song of just an acoustic guitar, even-handed vocals, and atypical lyrics that draw me in. Stunning.
*Full disclosure: i.am.hologram’s PR contact recently began writing for Independent Clauses. This happened after selection of this song for coverage and did not affect the selection of the song.
Redvers Bailey‘s if you want to fly you’ve got to let go is a charming, evocative album that sounds like a cross between The Mountain Goats, Belle and Sebastian, and Wes Anderson. Whoa, you might be thinking, that’s a lot of hipstery junk. Well sure. But if you’re into that sort of thing, this is the sort of thing you’ll really like.
For instance, opener “Young Romance” contains 450 words, some of which are Gustav Klimt, Egon Schiele, microfibre cloth, and several puns about the word “arm.” Follow-on “Elephant Ballerina” contains 537 words and includes the fact that a group of angels is a murmuration, some characters doing Gangnam Style, and “a hundred Michael Jackson zombies filling the dance floor.” Both of these tunes include only acoustic guitar and Bailey’s quirky, endearing, affected tenor (except for a very brief intrusion by a pseudo-marching band to the latter tune). By this point you’re in or you’re out, but if you’re in, here’s some more information.
Past those two opening tunes, things level out a bit into a melodic singer/songwriter with a Mountain Goats bent. “You and Me and My VW” includes a glockenspiel over the fingerpicking to give the pop tune a eternally-sunny Avalanche City vibe, while “The Key to Happiness” has furious, chunky guitar chords straight out of John Darnielle’s early ’90s period. “Living Well is the Best Revenge” and “Sarah” are ballads that lean heavily on the descriptive lyrics instead of the quirky guitar-based songwriting; they fit with the earlier songs through a similar hyper-specific lyrical disposition and Bailey’s voice, but musically they’re a lot different.
Still, Bailey wraps up the collection with the title track, a tune just as verbose, humorous, and enthusiastic as the opening two tunes. The track is a mission statement of sorts, relating the poignant yet still smile-inducing story of how Bailey ended up trying (and failing) to disavow being a musician. (Spoiler alert: he comes back to music.) It’s the perfect mid-point between the earnest emotionalism of his quiet tracks and the passionate theatricality of his poppier tracks.
If you’re into self-aware singer-songwriters with a huge vocabulary and tons of cultural references, you’ll find a gem in Redvers Bailey. if you want to fly is a whirlwind trip through someone else’s mind, and it’s a thoroughly invigorating experience. Here’s to knowing what you do and doing it unabashedly.
1. “Audubon” – Jon Solo. Here’s a gentle yet expansive sonic soundscape dedicated to the famous naturalist. The arrangement here is simple-sounding yet complex in its construction, which makes for great work.
2. “Taller” – Silas William Alexander. An intimate folk tune that has the gravitas of the best folk singers, an earnest vocal performance that reminds me of my long-lost Page France, and a wistful sweetness that’s irresistible. Alexander is one to watch.
3. “Young Romance” – Redvers Bailey. Makes me think of Juno, The Life Aquatic, Beirut, Belle and Sebastian, honest quirkiness (“I don’t try to do this, this is just how I sing”), and lots of good songs. Mile-a-minute lyrics, chunky chords, humble melodies–what more can you ask for in an indie-pop tune?
4. “Going Home” – Jesse Rowlands. We don’t write real folk tunes that much anymore, but here’s one about a Southern deserter (I’m guessing from the Civil War) who tries to get back to his home. The voice-and-guitar songwriting sounds way more full than just those two pieces. It’s an engaging, beautiful tune.
5. “Little Moment” – Luke Rathborne. Delicate guitar work always gets me; so does the confidence to create small, quiet pop songs. This tune just makes me smile.
6. “Someone to Love Me” – Jont and the Infinite Possibility. Do you miss early-eras Coldplay? Rush of Blood to the Head, Parachutes, etc.? You’ll love the full-band, wide-screen, acoustic-grounded pop-rock here.
7. “Strangers” – Brad Fillatre. The vocal performances in this alt-country tune are deeply affecting, all the more so because of the unexpected nature of the clear, yearning chorus melody in relation to Fillatre’s gritty, rough verse performances.
8. “Hymns” – Grado. A subtle but strong opening guitar line leads into a unique combination of rainy-day indie-pop, modern folk music, and upbeat indie-pop enthusiasm. There’s quite a lot going on here in what seems like a simple, confident tune.
9. “Gentle Giant” – Yankee & the Foreigners. Charming, woodsy, full-band folk for fans of Fleet Foxes, The Fox and the Bird, new-school Decemberists, and Beirut’s vocalist.
10. “Anchor Up” – Eric George. Walking-speed folk troubadour work with great vocals, a stellar production job, and a remarkably chill vibe.
11. “Anchor (Argentum Remix)” – Novo Amor. A For Emma-style Bon Iver vocal performance over fingerpicked guitar and piano chords gets an ’90s techno beat backdrop; to my surprise, it sounds totally rad.
12. “Believe in Me” – Jason P. Krug. A tender keys line (maybe kalimba?) and a swooning cello accompany Krug’s smooth voice and lyrics of Eastern mysticism; reminds me of the quieter Dan Mangan songs, in that there’s a lot of emotion but not a lot of melodrama.
13. “Fire Engine Red” – Robert Francis. Francis sounds completely assured and at home in this minimalist songwriting environment: with a few rim clicks, distant synths, and a rubbery bass line, Francis creates a distinct, careful mood. It gets even better when he layers his acoustic guitar over it.
14. “The Haunted Song” – Maiah Wynne. Wynne wrote a solo vocal piece, then performed it in a big empty space accompanied by claps, stomps, and creepy background vocals. At just over 1:19, it’s intriguing and unconventional.
15. “Fork End Road” – Ark Royal. Big harmonies, swift picking, and great strings–this song hits you with a lot right up front. Gotta love a track that captures you from the get-go. Things get better from there, too.
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.