Independent Clauses | n. —unusual words about underappreciated music

Late June MP3s: Upbeat (mostly)

June 24, 2016

1. “New Survival” – The Medicine Hat. Taut, tightly-wound indie-rock verses open up into an expansive, melodic chorus. The whole thing is reminiscent of a female-fronted Bloc Party, if they were slightly less neurotic. They don’t make ’em like this very often.

2. “More” – Queue. A slinky, winding bass line and gently staccato percussion power this indie-rock tune that would make Wye Oak jealous.

3. “Four Corners” – Seth Nathan. Brash, noisy, immediate garage-y indie-rock that owes as much to Pavement as it does to The Vaccines. The¬†attitude-filled vocal delivery is on point, and the whole thing comes off like a charm.

4. “You” – Wall Sun Sun. Two nylon-string acoustic guitars, two drummers, and nine-part harmonies compose the entire arrangement here. While comparisons to the Polyphonic Spree are sort of inevitable, ¬†they sound more like a ’50s girl-pop band fused to an acoustic version of Vampire Weekend. Which is to say: “whoa, this is the jam.”

5. “Birthday Blues” – Team Picture. If Frightened Rabbit got mixed up with a krautrock band, they might turn out a churning, lightly-psyched-out, major-key, six-minute rock jam like this one.

6. “Black Gold” – HOMES. Is this a dance-rock song (those rhythms!)? An indie-rock song (those vocals!)? A Southern rock song (that riff!)? Yes and no and all. Whatever it is, it rocks.

7. “Far Away (Saudade)” – Marsicans. The vocals are not usually the most intriguing part of British garage rock, but there’s a quirky, lovely section in the middle here where Marsicans goes a capella. It just totally makes the song. Also the bass playing is rad.

8. “Shapes” – Old Mountain Station. Low-slung, low-key indie rock a la Grandaddy, shot through with big guitar distortion a la post-rock bands. High drama music, but not in an overly theatrical way.

9. “The Absolute” – Jackson Dyer. Starts off as a Bon Iver-esque dreamy jam with lightly neo-R&B vocals, but we get some post-dub groove dropped in and some super slinky guitar on top of that. By the end, I’m groovin’ hard and genre labels don’t matter much to me.

10. “Metropole Des Anges Pt. 1” – EH46. Speaking of post-rock, here’s a slowly unfurling piece that’s heavy on drone and distortion/static. The counterpoint is a delicate keyboard line that evokes the elegance of water dropping on heavy vibrating machinery. The sonic elements bend and contort over the nearly-six-minute length, but the mood remains consistent.

11. “Falling Sky” – October’s Child. Heavy on pad synths, this electro song threatens to explode from dream-pop to electro-jam but never does. Instead, they wash sounds over the listener and sing of “reverie.”

12. “Collapse” – ILY. The pressing movement of techno combined with the mysterious, laidback chill of Postal Service-electro pop creates a very summery jam.

Photons Are Glorious

April 27, 2009

Photons have got some serious talent, if Glory! EP is any indication. Even with only four songs, the album displays a depth of talent and songwriting that most bands never develop, and this is just their first effort. Their sound is entrancing, mixing dream-like instrumentals with punchy hits and wailing lyrics.

“Waves and Gamma Rays” starts off Glory! EP. The instrumentation isn’t that of your typical rock band; specifically, they don’t use any bass guitar. Paired with lots of color instrumentation, the Photons produce a very light-hearted, cheery sound. Though short, “Waves and Gamma Rays” is a fun little number, and piqued my curiosity for the remainder of the EP. In comparison to other bands, I drew a fairly strong correlation to The Polyphonic Spree’s sound, though lead vocals sound more like they’re from The Decemberists or Gogol Bordello.

The title track “Glory!” opens with rock and wailing lyrics that really come into their own, sounding plaintive and passionate. So far as I can tell, there wasn’t any post-processing done on the recording of this album, lending it something of a garage-rock sound. It isn’t what I was expecting, but the raw feel of the vocals and lack of bass are really working well here. Near the end of the track, backup vocals come in and really complete the song.

“Where Were You Last Night” brings in some of the most fascinating instrumentation of the album. It starts with some fun percussion – marimba, or maybe xylophone? Something like that. In an unexpected turn, bassoon enters at around forty-five seconds, and it works surprisingly well for them. It’s really making their sound unique and a pleasure to hear. The more I listen to Glory! EP, the more I’m getting a feel for the characteristic sounds of the Photons. You can expect those emotional vocals from their front man, periodic backup vocals, an unfinished and slightly raw sound, and unique instrumentation.

The album closes with “Witness Protection,” and gets back to the light-hearted feel it opened with, which seems to be an over-arching theme. The song features dual male and female lead vocals, as well as a backup ensemble. The tone and energy level wind down from the previous two songs, but still comes across as very fun, and very much reminiscent of The Polyphonic Spree. Really, I can’t wait to hear a full-length album from these guys, and I somewhat selfishly hope I get to review it. Do yourself a favor and give these guys a listen.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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