I’m incredibly excited that I’ve finished my year-end lists actually correspond with the end of the year. Without further pontificating, here’s the first half of the year’s best.
Honorable Mention: LCD Soundsystem – Madison Square Garden Show. It’s not an official release, but it proves that the tightest live band in the world only got tighter with time. “Yeah” is an absolute powerhouse.
Elizaveta initially comes off as Regina Spektor/Ingrid Michaelson follower, but there’s a sharp left hook in the chorus that has me very excited for the future. Don’t worry; you’ll know it. Hers is a career to watch closely. (As for the video? Well, it’s got serious wtf factor.)
Noisetrade’s Fall Sampler includes several artists that IC has featured among its 30-strong ranks: Brianna Gaither, Jenny and Tyler, Joe Pug, David Ramirez and Sleeping At Last, the last of which was covered so early on in Independent Clauses’ history that the review isn’t even on this version of the site. There are also several bands we highly recommend that haven’t been officially covered here at IC: The Middle East, Derek Webb + Sandra McCracken, Ivan & Alyosha, Josh Rouse and Josh Garrels. I’m guessing the other third is full of joy and wonder as well – I’ll be checking it out soon.
If you’re into the whole ’80s nostalgia thing that’s going around, you’re going to be all over Geoffrey O’Connor. His album Vanity is Forever is streaming in full over here. Seriously, it’s 1985 on that webpage.
Beirut’s The Rip Tide is still keeping me company, and now a visual aid has been supplied! Sunset Television made this bizarre yet somehow fitting clip for “Santa Fe,” and while I’m not really sure what’s happening, I enjoy it.
I rode a fixed-gear bike for about two weeks as a result of an uninformed impulse purchase. (“Frame and chain for ten bucks? IN!”) After the initial shock and subsequent few days of learning curve, I deeply enjoyed the soothing rhythm of constant but leisurely motion. The pleasant experience ended in defeat and bike modification when I realized that Auburn is literally the hilliest place I’ve ever seen.
I was reminded of my fixie weeks when listening to Beirut‘s The Rip Tide. I’ve respected Zach Condon as a unique and important voice in indie rock since his debut album, but I haven’t spent much time listening recreationally to his music. The force with which he projected his signature tenor warble on the world turned me off, despite my affection for his horn/string/piano/auxiliary instrument arrangements.
That’s not a problem here, as Condon tones everything back (including his voice!) for a short but fully-realized album. In nine tunes and about 33 minutes, Condon does more to engender my affection than he has in all his previous work combined: each tune sparkles, but the gentle “East Harlem,” Sufjan-esque “Santa Fe,” sleepy “The Peacock” and swaying “Payne’s Bay” command my attention.
“Sway” is a good word for the whole collection, as the pieces seem to share a subtle rhythmic consistency. That’s what brought me to the bike: the tunes unspool at a speed faster than walking but slower than driving. It’s constant leisurely motion, otherwise known as the perfect soundtrack for lazy (bike) commutes home.
The mood is also consistent. Where Condon has been forceful or energetic in the past, he’s relaxed now. He never goes for the throat with any arrangement or vocal line, and the album is all the better for it. There’s enough variation in his horn-heavy orchestrations to distinguish between each song, but not so much as to strip the flow. You can still tell it’s Condon (no worries there, you’ll always know when it’s him singing), but I appreciate that it’s an older, calmer version.
The Rip Tide surprised me. I always give Beirut a chance, but this time Condon delivered on as much of his initial immense promise as can be expected. (So he’s not the next Jeff Mangum. And you are?) I have a feeling this will be in my year-end top ten, and that’s a big compliment, considering what made it into the half-year top list. But yes, The Rip Tide is that good. Go get it.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.