For me, Feist set the standard for mature female-fronted indie-pop. Charming, interesting, and occasionally deep, Feist relies on traditional songcraft as opposed to tricks or gimmicks. (No hate: I love a good gimmick.) But there’s something classic about Feist, and anybody I can find to compare must necessarily be on top of their game. It’s incredibly impressive, then, that Grace Joyner‘s debut EP has a clarity of vision and excellence of performance that would put her in Feist’s category.
What Young Fools does best is convince me. Joyner’s songs sound mature, bright, and real. They don’t feel like ephemeral pop songs or ponderous singer/songwriter tunes; these are songs with weight and heft, but also a light touch. If Joyner didn’t apply to modern indie vocal melodies and styles, these songs could easily be confused for songs much older. Opener “Other Girls” features piano, gentle drumming, and flutes for color; “Young Thing” and “Be Good” have the pad synths and separated beats of an ’80s Police-style song. (“Holy” does sound like a Killers or Bravery track, but it’s an outlier.) Their traditional style, however, makes them endearing–not cliche. Joyner’s songs are excellent because they perfectly compliment the real star: her voice.
Joyner’s alto is awesome because it’s flexible. “Other Girls” sees her using in a near-formal capacity, full of trills, swoops, and vibrato. “Be Good” sees her adapt a speak/sing style, while “Love of Mine” shows off her poppy side. But it’s “Young Thing” that shows her voice’s versatility and unique qualities. The standout performance sees Joyner getting emotional without getting theatrical, which is an impressive feat. Using little shifts in tone and register, Joyner puts on an evocative display without going into Adele-style range. It’s impressive, and more than any other track makes me excited for Joyner’s future work.
Grace Joyner’s first step out from background vocals position is an impressive one. Young Fools is an accomplished, mature, exciting release that displays impressive songwriting skills. If you’re a fan of Wye Oak, Feist, Waxahatchie, or even She and Him, you’ll find a lot to love in Grace Joyner’s work.
Clara Barker‘s songwriting is impeccable on Fine Art and the Breslins. The Isle of Man (!) resident’s folk and acoustic indie-pop tunes have a classic songcraft flair about them; she breathes life into rhythms and arrangements that would seem like tropes in others’ hands.
She’s able to do this in part because of charming moods: it’s just fun to listen to tunes like “Angel” and “Love (Fill My Heart).” Both are happy songs that make me bob my head, clap my hands, and sing along. Are the strum and percussive patterns familiar? Yep. But that’s what makes it so immediately lovable. She also dabbles in melancholy, Verve Pipe-style Brit-pop (“Dodging Bullets,” “Seth’s Song”), which is a nice change of pace.
Her lovely voice also helps get through any complaints about formal songwriting. Her perky, buoyant voice gives her a bit of a manic pixie dream girl vibe. It puts her in league with other beloved indie singer-songwriters like Ingrid Michaelson and She and Him. This is nowhere as prevalent as “The Bees Song,” which is a twee love song that includes a toy piano (or similar sound). In short, Clara Barker’s songs are comfortable, lovable, and fun to listen to. I’m behind anyone who can hit that trifecta.
Bon Iver may sparked a surge in mopey folk singers (whom I love, let it be known), but it’s good to know that there are still bands who think that folk music is wild, crazy, and a little dangerous. Push play on The Loose Canyons‘ Strivers’ Row and you’ll get immediately introduced to the raucous “If We Don’t Know By Now,” which sees the band blasting forward with train-whistle rhythms, energy galore, and a slicing harmonica. The next track lets the guitarist rip off a blazing guitar solo in-between gruff, growling vocals. Tom Waits lite plus The Low Anthem? Yes please.
Even when the band slows things down they retain that ragged flair. “My Tendencies” is technically slower and led by a female vocalist, but this just means that they sound like they’re luring you into a back alley somewhere. And they still manage to get an overdriven guitar and wailing harmonica into the arrangement.
By the time you get to “7th Day,” the vocal-centric, harmony-friendly, even sweet tune seems like it’s coming from some other band. It shows the impressive diversity of Loose Canyons; they can fully inhabit their moods and shed them just as quickly. They circle the wagons for a final track, where all the moods (tenderness, gruffness, instrumental prowess, vocal-centricness) come together. “John Lennon” is a pretty impressive track, if only for the amount of things it crams in. I’m still partial to those raucous first two tracks, but that’s a personal preference thing. The Loose Canyons are great on each of these five songs, and you’d do well to check them out if you’re into folk music.
Broken Social Scene is gone, which means that there’s a hole in the “absurdly large, Canadian indie-rock collaborative” part of the music universe. Thankfully, Del Bel is here to take up that space, both in size and sound.
And it’s quite a collective, encompassing at least ten people (according to the Facebook page). Some of them have been in Do Make Say Think, The Happiness Project, Ohbijou and (surprise, surprise) Broken Social Scene, among other bands listed. But all this pedigree wouldn’t matter if the songs sucked. Is Del Bel’s Oneiric worth the hype?
Very yes. The members of the band draw on their extensive indie rock histories to create a diverse album of gently rolling, evocative, moving indie rock held together by a cinematic strain running through the tunes. Opener “Dusk Light” is a slow-builder that falls between The National and Portishead, but with a lilting female vocalist. “Stirring Bones” falls next, and it falls on the New Pornographers side of things, even invoking She and Him a bit. But instead of being disparate, the two seem like logical extensions of each other, both held together by legato guitar lines living just beneath the surface of the tune. Even though the first uses the subterranean guitar to press the tempo and the latter uses it to rein in the shuffling groove, the sound locks in to the listener’s mind in the same way.
It’s not the only marker that transfers across these gentle, beautiful tunes. The forlorn mood that so invokes High Violet is on display in “Beltone” and “No Reservation,” although the latter jazzes it up a bit with woodwinds and rumbling toms. The Portishead comes out in the separated beats and immense space of “This Unknown” and “Slave to the Deep.” A dash of The Walkmen’s dramatism is applied throughout, although the band never appropriates the trademark Walkmen yowl. These songs are primarily gentle, not caterwauling.
The control that Del Bel Oneiric asserts over its sound is incredibly impressive. By restraining any impulse to get frenzied, they have created a well-tuned set of songs that translate into a well-coordinated album. It’s rare that I hear an album that works on an individual song (local) level and a whole-album (global) level, but Oneiric does. Highly recommended for fans of melodic, artistic, evocative music.
The Loose Salute‘s Getting Over Being Under mashes She and Him-esque vintage pop and modern alt-country sounds together. The resulting 11 tunes are incredibly pleasant, as you may expect a combination of those earnest genres would create. (Ian McCutcheon, drummer for alt-country greats Mojave 3, is the songwriter here.) The album is only problematic if you ask it to be more than nice.
“Vintage” is a peculiar fad in and of itself; a thing’s age is not an intrinsic marker of quality or necessity. Decades-old furniture that lasts is valuable; the trend of leg warmers (now almost 30 years old!) is not valuable. When bands appropriate a vintage sound, is it worth it? Does a band gain something by appealing to a person’s nostalgia?
I’m not sure they do. By drawing a direct line between “the good old days” and their current work, bands are attempting to recreate a thoroughly-tapped well. This almost precludes them from being able to do anything new and creative: If a band’s goal is to sound like someone else – even a nebulous other that is “vintage” – the achievement of that goal is a total absolution of whatever element would cause a band to stand out.
That’s where the problem lies in Getting Over Being Under. Each of the tunes are competent, pretty, even enjoyable. But I can’t pick out a single thing that I remember after the album is over. It’s akin to the music that movie characters hear on the radio when they wake up: pleasant, but not really the point of what’s happening.
“It’s a Beautiful Thing” is a pleasant, charming tune with some nice strings and a plodding country bass line. There’s nothing bad about the song at all. But by the time it folds into the perky “Run Out of Morning,” I totally forget it. No matter how many times I listen to the album, I find myself searching for the one track with really great horns (“So Out of Time”). There’s plenty of organ throughout. The mellow tracks are kind and calm: “This Is Love” is especially pleasing.
The really baffling thing about this album is that because it appeals to my nostalgia, I like it a ton. When I’m listening to it, I truly enjoy it. But afterwards, I can’t remember it. The band has effectively insulated itself against being disliked by me, but I’m not sure that’s the goal of being a band. I wouldn’t have written about it if I could find something to dislike about it. But this is a solid, enjoyable album – sort of. The Loose Salute is quite talented, and I would love to see the members branch out and take some sort of step to distinguish themselves from the pack. If not? Well, they’ll always be pleasant.
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.