1. “Whine of the Mystic” – Nap Eyes. Major-key guitar-rock infused with so much martial tension from the drums and the wavering high guitar part that it feels like it is always about to explode–with the exception of the preternaturally calm vocalist that tethers the tune the ground. The tune never explodes in giant guitar fury. I’m impressed.
2. “Getaway” – Jaill. Bass-heavy surf-rock that eschews much of the whining treble that categorizes the genre: suddenly, it just sounds like tip-top driving pop-rock music.
3. “Be What You Are” – The Cairo Gang. The less garage-y garage rock gets, the more it sounds like ’60s rock and pop. This has Beach Boys, Beatles, Kinks, and more influences crammed into it. Rock on.
4. “Incarceration Casserole” – Barrence Whitfield and the Savages. Uncorked James Brown-esque soul/funk complete with sax meets blast-off ’50s rock in a high-energy blender of a song that’s about not knowing how to make food and eat because his wife is in jail. This is the first time you’ve heard a song like this.
5. “Creature” – It Looks Sad. Every now and then a punk song jumps out of the ether, slaps me across the face, and demands that I cover it. This one, with its towering choruses, huge-yet-not-abrasive guitars, and early ’00s/White Octave-esque emotional palette did that to me.
6. “Kashyyyk” – We Take Fire. A mind-bending genre blender of a song that combines post-rock, post-hardcore, dance-rock, and Coheed & Cambria-esque flights of fancy into one massively headturning rock song.
7. “Smokesignals” – The Feel Bad Hit. Here’s an punk-inspired instrumental rock tune that has nothing post- about it: the band just crushes it without vocals. ‘Nuff said.
8. “Love Like Crazy” – Jessica Lee Wilkes. Wilkes offers up some sax-powered, vaguely surfy vintage pop that sounds fresh as anything.
9. “Crossing on a Bend” – Bourbon Street Beat. Not a big rockabilly fan? Try this track, which includes enough modern melodic sentiment to seem less uncomfortably foreign and more exotic and interesting.
10. “Port City” – I Am the Albatross. Buoyant acoustic rhythm guitar, crunchy electric guitars (complete with guitar solo!), jubilant chorus, creaky vocals, big drums: this is an old-school rock tune, y’all.
11. “Business” – The Good Field. I have an ambient understanding of what ’70s AM radio rock sounded like: warm, major-key, fuzzed out, concerned with formal songwriting tactics, and generally hooky. The Good Field fit my impressionistic ideas of what that style sounded like to a T.
12. “Aubrey” – Lake Malawi. Low-slung but still peppy, chilled-out but still energetic, this sounds like a Strokes-ian indie band accidentally getting lost in ’80s radio pop and emerging with an artifact that isn’t either genre, exactly.
13. “Young” – Kyle and the Pity Party. This song declares “I’d do anything for you/I’d even listen to Brand New/if that’s what you want me to.” Without waxing poetic about the early 2000s (Deja Entenduforever), I can confidently say that this sort of emotional rock and roll is a direct descendant of that scene (with some of the angular edges worn off).
1. “The Balance” – Royal Tongues. Sometimes the RIYL is absolutely perfect. I got told this one was like Smallpools and Passion Pit. BY JOVE IT IS! EVERYBODY DANCE!
2. “Desole Pt. II” – The Gromble. This is like if the enthusiasm of Passion Pit met the restraint of The Naked and the Famous. You can dance to it and think heavy musical thoughts about post-punk to it!
3. “I Feel Sorry For You” – Bullybones. Always space in my heart for voice-shredding, garage-crushin’, surf-rockin’ tunes.
5. “I Told You So” – The March Divide. Early ’00s emo/punk is back, and that’s a really great thing. Let it emote, men. Let it jangle and emote.
6. “Black White Fuzz” – Coastgaard. Yacht rock + The Strokes? Why not? *head bobs frantically*
7. “Little Surfer Girl” – The Yetis. Do you love the Beach Boys? If yes, you love the Yetis.
8. “It Don’t Even” – ET Anderson. When you mix rubbery bass higher in the mix that crunchy guitars, you’ve got a very specific vision for your sound. ET Anderson’s vibe here is strong and impressive, like a slackery Spoon or something. I’m intrigued.
9. “Trouble” – Micah Olsan and the Many. Funk, indie-rock and shades of Hendrix psychedelia come together to make a pulsing, groove-heavy track.
10. “photograph” – crashfaster. Jamiroquai in outer space! Anamanaguchi at the bottom of the sea! Dance-rock with serious sci-fi vibes!
The Forty Nineteens from Temecula, California, create a bathing suitable (though cut off blue jeans) backdrop for a straight-up, rocked-about, garage-door-up chill out. Spin It is an album at the heart of maximizing summertime, utilizing nighttime, taking all bets before ring time. They’ve made a classic-sounding album: a whiskey sour made with The Makers and Copper Blue Sugar. Like a classic album offering, they even cover a song, The Rolling Stones’ “Dead Flowers.”
What strikes me is that Spin It is so ridiculously similar to one of my favorite albums, the self-titled Durocs record. The Durocs in 1979 covered Gene Pitney’s “It Hurts To Be In Love” on their consummately sequenced, rock/soul throwback. Both bands are from California. The Durocs’ hit “Lie To Me” : The 4019s’ hit (this reviewer’s pick) “Can’t Let You Go” :: squeezing oranges : making orange juice. There is no second Durocs album, but there is a first Forty Nineteens album, which I went feverishly searching for as soon as I heard Spin It.
Three sentences on a true ache: Jenny’s at her figure drawing class, but she wants to be at the smoked-out, punk-band-stickered, freshly bleached, checkpoint-tiled Toilet Club. The Forty Nineteens are playing with Old 97’s and The Delta 72. There are going to be a lot of good numbers.
Chris Pope spits his stories in your ear, laughs at you – a creep at the wet willie weary. Your eyes refocus. “Are you ten years old?” On his third EP, High Times, with his group Blonde Summer, he continues to lay down his prize prose in a distinct voice. This is what has set indie-rock apart since it was a thing. We know Lou Barlow’s lovelorn; we know Ted Leo’s aware. We want to be a part of these tales and feel that there’s a leader.
Blonde Summer jumps out of the storybook page so abruptly they take the fish bowl and doily down, too. I remember Scott Yoder bruised my brain on The Pharmacy’s “Choose Yr. Own Adventure.” I remember Ray Weiss rearranged my reason on Le Rug’s “Sex Reduction Flower.” I think Chris Pope has a similar spark for matching words with music and for taking the listener into his world without having to say “Pay attention,” “Look,” or “Listen.”
It’s like a day’s worth of bad advice bundled up, tucked, and waxed into a single Zuma Beach morning. The water is frigid and frightening. It takes the breath right out of you. It’s just a doorless Jeep ride home. You sit under covers for two hours, shivering… making no sudden movements. It’s a recovery. It’s like no cop is going to suspect the food delivery man who’s also a drug dealer. So, the plastic-bag cradled meal looks innocuous, and costs $10 more. But, it’s in there. Let’s get baked and shovel Lo Mein.
Three sentences on true ache: Jenny’s all caught up at her volunteer deal, covering turkey hands on a December bulletin board, when she really wants to be – ear buds in – subwaying home. She clicks on the Pre-X-Mas MegaMix, all warm songs: Pavement’s “Summer Babe,” Blonde Summer’s “Jim,” The Beach Boys’ “Surf’s Up,” The Apples In Stereo’s “Sun Is Out,” and on and on…. The guide lights careen by, accenting the spaces between on a trip usually only highlighted by the stop announcements.
Wreaths are Asbury Park, New Jersey’s new drone-dance space-out shoe-gaze outer-space chill-pill. These madman drummers have a sense of the history of this type of music: The Cure, My Bloody Valentine, The Warlocks. The band has a great grasp of how to deliver a song without succumbing to the urge to drown… in pools of big delayed guitars and tremolo bar dives. Their self-titled album is solid… no bummers. Feeling kind of older, I don’t want a rehash of records I’ve already put away. I want to have a crush on a band. I want to turn up the band.
The band loops and disintegrates through brimstone baritone – guitars and keys rushing and pushing. They build and build and let the calliope crash to the ground. Feather-headed gargoyles painted neon orange, bright bent whistles, and ornate cylindrical steel shrouds are strewn. No one picks up a single piece. The Designing Women of Asbury Park scoff and get back to it, struggling to muster just what flare will flip another non-ocean-facing condo, while the band members are watching the young girls dance.
At points conjuring Jim Morrison, Wreaths chant, “I Love Me, Dark Wizard.” At other points, Wreaths are just humming a lunar tune. They mid-song break… with fuzz guitar sludge, sloughing off to grow stronger roots. It can get dark with this type of music. The music on Wreaths is more hopeful. This band is currently sold out of their discs. Something is happening here.
Three sentences on true ache: She left the house this morning in pitch dark – Wreaths stuck on repeat… stuck in her iPod-docking wave machine… stuck in her head. Jenny has a brief lunch break… the kind one spends just rubbing temples. Powerhouse sandwich in mouth, she throws open the double doors, and she is blinded by the light.–Gary Lee Barrett
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.