Samuel Alty‘s Hammering Nails into the Sky is a folk/singer-songwriter album that draws heavily off a standard flamenco guitar idea: the bass notes play a straight rhythm while the treble plays a speedy, syncopated rhythm over it. Most of the tracks here play off some variation of that theme, creating a unique, energetic feel to the record.
“Be Brave” is the most identifiably flamenco of the tunes: the rhythms are familiar, the tune’s in a major key, and the whole thing makes me want to sway and dance cheerfully. “Guiding Hands” is a minor-key, even ominous flamenco-inspired piece that retains the treble/bass relationship. That relationship diversifies in “Life It Is for Living,” where the stand-up bass plays the ostinato notes and Alty uses the whole rattling guitar as the counterpoint; it’s inverted in “Revolution,” where the treble is the repeated and the bass and vocals go wild. “Travelling Song” is a complicated instrumental ballad where both the bass and the treble are moving around. Alty does an impressive job turning one overacrching idea into a wide array of compelling song structures.
There are a few tunes where Alty breaks from his theme. “Sanction” is a near 7-minute singer/songwriter tune that focuses heavily on his baritone range instead of his guitar work. It’s a spacious, sparse work, not unlike Bonnie Prince Billy in places. “Glory” is even more focused on Alty’s voice, as he multitracks himself singing and beatboxing for a song that’s completely a capella. It has a trip-hop vibe to it, which is a break in the mostly-speedy tempos of the record.
Hammering Nails into the Sky is a fun, intriguing, intricate record that is probably unlike what you’re listening to right now, unless you’re listening to José González or going flamenco dancing. It has charms on first blush and rewards multiple listens. If you’re looking to expanding your musical horizons today, definitely check out Hammering Nails into the Sky.
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.
1. “Heart Song” – Samuel Alty. Captures the enthusiasm of flamenco and distills it into a two-and-a-half-minute romp that I can’t get out of my head. The music video perfectly complements the ecstatic vibe of the tune: a group of people slowly getting accustomed to dancing in public. This is way, way fun.
2. “Silent Moon” – Supersmall. It’s a warm blanket of a tune–the soft guitars, the comfortable vocals, and the gentle arrangement all come together to just be a lovely acoustic indie-pop tune.
3. “Roman Tic” – John Helix. Fans of Elliott Smith will fall hard for this spare-yet-endearing tune.
4. “21 Years” – Malory Torr. The quirky songwriting and vocal delivery of Regina Spektor (except on guitar) fused to a Bohemian version of Five for Fighting’s “100 Years.” Love the group vocals throughout.
5. “Drinking Song” – Haley Heynderickx. This slightly woozy, charming tune sounds like Laura Marling and Laura Stephenson collaborated on an acoustic jam. The vocals here are quirky and lovely.
6. “Turn to Stone” – Nice Motor. Combines back-porch picking with West Coast, Laurel Canyon country vibes to create a tune that’s not quite either thing: it kinda sounds like The Eagles somehow turned into a folk band.
7. “Sweet Innocence” – Kylie Odetta. It’s rare that the drums stand out in a singer/songwriter tune, but they provide the perfect counterpoint to Odetta’s warm alto lines in this calm, confident tune.
8. “We Sing with Angels” – The Project. With a singer/songwriter chorus, Spanish finger-style guitar verses, and traditional melodic structure evocative of ancient hymnody, this tune goes in directions you wouldn’t expect. The pieces come together for a unique experience.
9. “The One” – Erik Fastén. There’s a sense of noble, dignified romantic angst here, employed through a careful guitar performance, breathy vocals, and fluttering strings.
10. “Follow the Sun” – Hand Drawn Maps. An early-’00s sense of full-band indie-pop melancholy permeates this track–it makes perfect sense that they’re from LA, the home of Phantom Planet and inspiration of Death Cab’s “Why You’d Want to Live Here.”
11. “The Planets Align” – Chris Belson. A deep, silky, enveloping, enigmatic voice dances over a simple guitar.
12. “1963” – Nikki Gregoroff. Gregoroff makes a simple piano line arresting with a bright, clear, magnetic vocal performance.
13. “Kaydence” – Triana Presley. Sometimes you just want to hear a melancholy piano-pop ballad. I’ve been known to love Something Corporate and Taylor Swift. I’ll admit it.
14. “Can’t Erase It” – Kylie Odetta. Somewhere between Norah Jones and Adele lives this beatuiful, wistful track. Odetta’s voice reads far older than her years. (Rare double entry on the same post!)
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.