Folk-rock, alt-country, and indie-rock fuse in A Valley Son’s “Lights in the Sky”: it’s got call-and-response vocals, crunchy guitar twang, and a breakdown instrumental outro. The song is such a tight marriage of the three genres that it’s not entirely productive to discuss it more than to get you interested.
Trey Powell’s baritone vocals lead the tune, giving way occasionally to bright, crunchy electric guitar work between sections. The band is really tight: the arrangement feels comfortable and assured, giving the vocals just the right amount of space without blending amorphously into the background. (And check out that rad instrumental outro, too.) The backup vocalists play a big part in the atmosphere of the song, coming in consistently as support at the end of verse lines and throughout the chorus. Their efforts contribute to the warm, collective feel of the tune.
“Lights in the Sky” is a top-shelf tune that should help put the band in the conversation with much more established bands. It’s more alt-country than The Low Anthem, but not so much as the Old ’97s; I immediately thought of the major-key alt-country of Denver’s 4H Royalty as a comparable sound. Dawes and Ivan & Alyosha also would fit as peers. If you’re into noisier folk-inspired work, this track will be right up your alley.
This song is the first single off A Valley Son’s debut release Sunset Park, which will drop late July/early August. If you’re going to be in the Northeast, you can check the band out on these dates:
June 11th, The Fire (Philly Single Release) – Philadelphia, PA
June 18th, The Waystation, Brooklyn, NY
June 24th, DROM (NYC Single Release), NY, NY
July 8th, Hometown, Brooklyn, NY
August 13th, Union Hall, Brooklyn, NY
People often ask me to define folk, Americana, folk-rock, or alt-country. I understand the confusion: the nuances are there, but for many casual listeners they can be pedantic or unimportant. It doesn’t help that many of those genres share traits, with the difference only lying in the emphasis of this one or that one. Then there are the grey areas. However, sometimes an artist comes around that fits the bill exactly. Keyan Keihani, for instance, is an alt-country artist through and through.
Keihani relies on country vibes, full-band arrangements, pedal steel, organ, rock-style songwriting (verse/chorus/verse), and modern melodies in Eastbound–which is exactly what alt-country bands are known for. The Jayhawks, Ryan Adams, and the Old 97s are all examplars of the modern version of the sound that The Byrds, CSN&Y, and Buffalo Springfield helped invent. But just because something can be named doesn’t mean it’s not exciting and interesting. Keihani’s vocal melodies and tight arrangements create a memorable, easygoing record that invites you to press repeat.
“Don’t You Ever Leave” is a perfect example of his sound. Swooping pedal guitar, insistent drumming, and honkytonk piano come together to create something much greater than the sum of their parts. Keihani ties all these parts together with his smooth, evocative tenor, giving a gravitas to the track that transforms it from solid to excellent. The wistful “Same We’ve Been” ties twinkling piano and treble-heavy mandolin together for a romantic vibe; “Good Country Night” turns up the honkytonk without getting abrasive, making for a song that’s just a ton of fun.
Keihani’s debut album shows a maturity unexpected in those putting out a first collection of tunes. His deft songwriting touch allows traditional instruments and well-known moods to be invigorating and interesting. His vocals allow people who might not otherwise get into the genre an in. The whole album comes off as an assured, welcoming set of tunes. Keyan Keihani may have just said hello with Eastbound, but it sounds like he’s got a lot more to say.
One of my favorite things about Independent Clauses is developing relationships with young artists and writers. Declan Ryan is both: I covered his split EP with Josh Mordecai recently, and he has written for IC in the past. His new EP Introducing Close Calls marries his singer/songwriter sensibilities to a full band with great results.
Ryan comes from the Dylan/Oberst line of singers that allows the passion of vocals to trump their technical correctness. This is best shown in “Then Don’t Hipst,” which creates a spacious, open-highway feel to the tune for his voice to ramble around in. The first line of the song is “All my lovers name’s are on highway signs/so blow a kiss to the state line,” so the unfettered feel of the vocals perfectly interprets the lyrics. That’s gold. This spacious sound reappears in sparse closer “Two and Seven,” which calls up Two Gallants–another band that uses vocals in an unusual way. Some people aren’t into this style of vocals, but Ryan does it well; if you’re a fan of this sound, Ryan will be up your alley.
His band contributes well throughout, framing Ryan’s vocals and lyrics neatly without becoming the main focus. Opener “Manhattan Square” has a full arrangement, but never cranks any part so high that you don’t know who’s the main draw. The band also doesn’t play up the twang too much, relying on clean notes, straight rhythms, and gentle tones for most of the arrangements. It’s nice to hear an alt-country offering that starts from a different point than The Jayhawks or Old 97s, as this approach has a lot more in common with indie-pop and indie-rock. Still, the end result is strongly alt-country, even if it gets there an unusual way.
Declan Ryan’s Introducing Close Calls allows Ryan to stretch his musical legs and cover some new ground. With “Then Don’t Hipst” as a starting point, fans of alt-country with distinct vocals should find much to love.
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.