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.
1. “Swimming” – Marsicans. This song dropped April 22, and summer officially started the instant it did. It’s all the best parts of The Vaccines, Vampire Weekend, Tokyo Police Club, and The Drums thrown into one indie-pop-rock amalgam. As a result, Marsicans have created one of the most exciting singles of the year so far, if we judge by the amount of spontaneous dancing it has inspired in me. Totally looking forward to more from Marsicans.
2. “Going Going Gone” – Bows. One summer of my life is captured in the memory of Chairlift’s “Bruises,” which I spun a lot. “Going Going Gone” has that same sort of effortless charm, breezy songwriting, and hooky melodies, so I expect to find this one on my summer playlists a lot.
3. “Love Will Come Back to You” – Two Year Vacation. A sunny, electro-pop tune anchored by a whistling melody (or a whistling-esque synth) and a buoyant sense of summeriness.
4. “Martyrs” – Living Decent. The mixing work here keeps everything in this pop-punk-inspired indie-rock tune feeling open and airy. Vic Alvarez’s vocals mesh neatly with a chiming lead guitar to create a mature yet smile-inducing track.
5. “Last Forgiven” – Luke Rathborne. That snappy snare sound just makes me want to hit the road and roll down the windows. The yelpy vocal melodies and handclaps make me want to sing and clap and have fun right along with Luke. A great summer jam.
6. “Pasadena” – Young Mister. A song about California that sounds just about as bright and shiny as California. If you were a Phantom Planet / The OC person, this one’s for you.
7. “Vampires” – Spine of Man. Beachy, yacht-y, ’80s-inspired indie-pop that’s heavy on reverb, baritone vocals, and the best type of nostalgia.
8. “Squeeze” – Foxall. This is the friendly type of folk punk: the “everyone gather round the guitar” vibe spills out of the speakers. I can hear this being played around a fire on a summer evening at a campsite somewhere.
9. “Barcelona” – TRY. Ah, Spain, another of the iconic Summer destinations. The chorus of this indie-pop-rock jaunt includes a breezily sung “Bar-ce-loooooooo-na,” which is just perfect for the city and the carefree, jetsetting vibe of this song.
10. “Things That Get Better” – Boy on Guitar. This female-fronted acoustic indie-pop tune is one for the pessimists: the lyrics marvel at the fact that things have gone well. Walking-speed accompaniment and floating background vocals round out this lovely track.
11. “Fountain of Youth” – Shapes on Tape. Will we see a resurgence of wah-guitar funk and pop now that Prince has left us? If so, Shapes on Tape are at the front edge of the curve with a funky electro jam, complete with guitar reminiscent of Prince’s work. (Or maybe we’re all just thinking more about Prince these days.)
12. “Circadian Rhythm (Edit)” – I.W.A. The tension between cosmic-sounding pad synths that open this and the thrumming synths that follow it set up this chillwave electronic tune excellently. It’s reminiscent of Teen Daze’s best work: melodic, evocative, and interesting without going maximalist.
1. “Whistling Your Name” – Cadence Kid. Even in the inundated field of electro-pop, some things still stand out: Cadence Kid’s staccato opening synth salvo here grabs attention, and the chorus solidifies the interest.
2. “Are You Real” – The Gifted. There’s some seriously funky bass lines going on in this otherwise smooth electro-pop jam. Happy Friday.
3. “Never Gonna Learn” – Ded Rabbit. The Vaccines + Tokyo Police Club = “Never Gonna Learn.”
4. “Hello, N.S.A.” – Rock, Paper, Cynic. A hilarious power-pop parody of a love song (and of our current political state) that chooses as its object of affection the National Security Agency. To catch the attention of the beloved, RPC mentions just about every potential word and phrase that might catch the attention of the agency. Don’t try this at home?
5. “Chasers” – The Academic. The Academic continues that never-ending stream of UK outfits keeping that guitar-rock dream alive, following Arctic Monkeys, The Vaccines, and the like.
6. “Downstairs” – Castlebeat. The helter-skelter guitar of hyperactive indie-rock meets the drum machines and synths of ’80s new wave to create an oddly dancy, fun track that seems familiar in all the right ways.
7. “Why” – Amongst All. Brash, upfront pop-punk in the early ’00s style: “Feeling This”-era Blink and the like. If you love new bands that take you on memory trips without being derivative or boring, this track should push the buttons for you.
8. “Derby Girl” – The James Rocket. Jangly, ’90s-style indie-rock that sounds more like indie-pop today. Whatever name you call it, it’s quirky, jumpy, and fun. TJR is the sort of band that good-naturedly makes self-deprecating Guided By Voices jokes.
9. “Decisions” – Fire Hot Opera. I don’t usually cover this sort of funky, soulful work, but there’s something electric about the combination of vocalists, the jazz-inspired instrumentation, and the energy of the track that just draws me in.
10. “JAKL” – Bellwire. Slacker rock has never sounded so tight and fresh: Bellwire manages to sound both immaculately put together in the arrangement and lovably shambolic in the lyrics and vocal performance. Radness.
11. “Holiday (Feat. Caroline Mauck)” – Don’t Chase Felix. Sometimes you just need a breezy, sunny, lovely pop song about going on holiday. Have a great weekend, y’all.
1. “Parking Lot Palms” – iji. This tune is a breath of fresh air: a gentle, lightly reverbed road song that fits quietly and warmly into your life. Is it the arrangement? The melody? I don’t know. But I do know that it makes me calmer and happier.
2. “California Song” – Patrick James. James might be from Australia, but he’s got his finger of the pulse of the breezy West Coast. This acoustic-led pop-rock song throws back to the ’70s and ’80s, calling up not just longing for the coast but nostalgia for the past. Doesn’t get much more sentimental than that.
3. “Comeback” – Cherokee Red. Recipe for a great beach song: Mash a surf-pop backline together with smooth, welcoming vocals and burbling melodic elements. Totally chill.
4. “Street Lights” – Mon Sai. A swift piano and cymbal-heavy drum kit create a helter-skelter pop vibe that gives way to a Pet Sounds-esque chorus: in other words, it’s a great pop song.
5. “Mind Your Manors” – The Bandicoots. Perky, summery, head-bobbin’ indie-pop-rock a la Generationals.
6. “Bracelets” – Mini Dresses. Basically a female-fronted, slow-jam version of a Generationals pop song: loping bass line, vintage guitar reverb, tabourine shake here and there. Yes, thank you, I’ll have another, waiter.
7. “Park It” – Karina Denike. Give me that ’50s girl pop (complete with honking saxes), then amp up the attitude in the lead female vocals, and you’ll be near Denike’s creation here.
8. “You Don’t Know Me” – Ghost Lit Kingdom. Everybody needs a shoot-for-the-stars, acoustic-led epic anthem, the type that Arcade Fire don’t make anymore.
9. “Right Talk” – French Cassettes. The ability to emerge from a dense section of noise into a perky, clear melody is a skill that will always be in season, from Paul Simon to The Strokes to Vampire Weekend and the Vaccines. French Cassettes put their skills to good use on this bright, confident guitar-pop track.
10. “A Single Case Study” – Palávér. Some of the most infectious guitarwork I’ve heard in an indie-rock song recently is paired up with low, swooning vocals.t’s kind of like an alternate-future Clap Your Hands Say Yeah.
11. “Wasted Youth” – Friday Night Trend. If you never stopped loving Jimmy Eat World, this track will satiate all your aggressively jangly rock needs. It’s got punk elements throughout it, but there’s no avoiding the Jimmy connection.
12. “Easy” – Readership. Some power-pop is head-down, bash-it-out-and-let’s-go-home rock. Readership is the opposite: wide-open, staring-at-the-clouds style. Big guitar chords, in-your-face vocals, and an overall upbeat atmosphere.
Yeesh‘s No Problem is the fantastic result of 40 years of rock experimentation. If you scour through the impressive sonic melange of tracks like “Slip,” “Linda Lee,” and “Genesis Pt. 1,” you’ll find traces of (deep breath) Black Flag, the Minutemen, various grunge howlers, Blur, Modest Mouse, The Strokes, The Vaccines, The Pixies, Hot Water Music, The Menzingers, countless unnamed punk bands, and post-rock bands that emphasize the rock. What’s not included might be easier to list than what is. (No reggae or folk, for example.)
This level of sonic re-appropriation and pastiche makes it difficult to review; each song is its own distinct head trip. “Friends/Shadows” is the most frantic Menzingers song never recorded, with a math-rock breakdown for the heck of it. “Different Light” is a mid-tempo singalong made unusual by atypical reverb settings on the guitar; the propulsive “Watch Yr Step” lives on the boundary of punk and post-hardcore. “Zakk Radburn Teenage Detective” starts out with chiming guitars reminiscent of early ’00s indie-pop, then layers the most brutal guitar noise of the entire album on top of it. They never resolve the tension there, instead using it to power some start/stop acrobatics.
Listening to all of No Problem is a mind-bending experience. Yeesh doesn’t see any contradiction in having soaring guitar lines compete with gnarly low-end rhythm guitar (closer “Shock” most prominently, but it’s everywhere); they don’t see any problem in mixing poppy melodies, brute force guitars, polyrhythmic rhythm section, and artistic guitar effects. This kitchen sink approach to songwriting results in something truly inventive and creative: a set of ten songs that kept me guessing the entire time. If you think that complex arrangements can and should be set in the service of pummeling eardrums, No Problem may be high on your year-end list.
1. “Lighthouse” – The Burgeoning. One of the most intriguing singles I’ve heard all year, this track combines the ambient uppers of chillwave with the melodic structures of Vampire Weekend and the frantic fury (and guitar noise) of a punk band. It’s a fresh, amazing combination. I’m looking forward to hear more from The Burgeoning.
2. “The Next Morning” – The Drafts. The energy and enthusiastic guitars of The Vaccines meet a reserved, pensive vocalist for a charming, infectious tune that you’ll want to hear multiple times.
3. “Where I Go” – Pistol Shrimp. If Passion Pit, MGMT, and Anamanaguchi had a basement dance party, this bangin’ tune would be the result. Pop gold, right here.
4. “Heartracer” – Cosby. Synth-laden, big-pop ’80s revivalism is going great this year. This fits right up there with Challenger for the best of the bunch.
5. “Recurring Dreams” – Shivery Shakes. The carefree nature of whistling in a ’60s surf-pop influenced tune gets me every time. You like The Drums? You’ll love this.
6. “Promises” – Barreracudas. If you make a metaphor that includes arcade games (specifically Donkey Kong), I will be immediately more endeared to you. Fun, poppy garage-rock here.
7. “Speed Date Yr Way to Fame” – Sweet Deals on Surgery. Starts off a thrashy, screamed, frantic punk song before taking a momentary break in pop. Then in blasts off again.
8. “Name on a Matchbook” – Springtime Carnivore. ’60s girl pop gets a slight sonic update, but the soul of this tune really begs for an -ettes suffix.
9. “Head Down” – The Ocean Party. Jangly ’80s indie-rock meets airy ’80s synth-pop. The peppy, fun results are less ’80s and more ’00s than you’d think.
SXSW is currently taking over the North American music world, but I’m not there this year. To deal with this sadness, I have largely ignored what’s going on out there in Austin. So here are a bunch of tracks by bands that may or may not be showcasing at SXSW.
1. “It Takes Over” – Dream Curtain. I like chillwave so much that I wrote an academic paper about it. Dream Curtain loves chillwave so much that the project keeps making hazy, woozy, reverb-heavy, summery slices of wonder.
2. “Strange Feeling” – Panama. The ’80s influence is strong with this one. Piano, synths, a move-your-feet beat? It’s all happening on this yacht, y’all.
3. “Mountain (Alternate Version)” – Driftwood Miracle. What was a churning, heavy emo track is transformed into a lounge-y, chilled-out track with wah guitar and silky keys. It’s suprisingly fun and only a bit cheesy.
4. “Conquer It All” – Afterlife Parade. U2 and Coldplay influences abound in this upbeat indie-rock track, but it’s far more enjoyable than Coldplay’s “Magic.”
5. “Clearhead Real” – Plateau Below. Starts out a chill, spare guitar-pop track, turns into a big ‘ol guitar-rock stomper. (Bonus: The album art is a striking representation of the sound.)
6. “Bad News” – Slinger Francisco. I listened to a lot of Tooth & Nail Records pop-rock in the early 2000s, and Slinger Francisco takes me back to those heady days of MAE and Watashi Wa. Pop-rock arrangements with an emo heart and pop-punk vocal melodies.
7. “Cruel to Be Kind” – The Worriers. Alternately sneering and jubilant, hyperkinetic Aussies The Worriers come off like a Southern Hemispheric answer to The Vaccines.
I have now officially recovered from SXSW. It’s time to get back to that inbox and cover those bands you will soon love. Here’s an indie-pop/indie-rock mix for y’all; this should brighten your day.
Brighter … Now!
1. “Come Back to Life” – Hospital Ships. Sometimes I hear a song and think, “Wow, I want to write songs like that.” Stunning quiet/loud indie-rock here.
2. “Roosevelt Hotel” – Cocovan. That chorus. I’ve been singing and dancing for a week solid. This woman knows her way around a thoughtful pop song.
3. “Way Yes” – Colerain. Can you have dance-friendly energy while being deeply pensive, even sad? And make all that beautiful? Colerain says yes, yes, we can.
4. “California Analog Dream” – Vondelpark. Remember the first time you heard Grizzly Bear? Or Bon Iver? My first listen of Vondelpark was like that: instrumental simplicity that somehow overwhelmed my ears like an enlightenment experience.
5. “Monday Morning” – Charles Mansfeld. Acoustic indie-pop with idiosyncratic vocals and a unique gravitas? The more the better.
6. “Jive Babe” – Mikhael Paskalev. Squash together the frenetic vocal fervor of King Charles with the buzzy guitars of the Vaccines and you’ve got a scrumptious recipe.
7. “Monday Morning” – Younger James. (Not a typo, this one is also called “Monday Morning.”) I heard the Strokes have a new coming out. I can almost guarantee that this tune will be better than whatever that foursome is putting out.
8. “Ode to the Summer (Radio Edit)” – Syd Arthur. Someone called this prog? I thought this intricate, melodic work was what indie rock sounded like in 2013? Things just got weird.
9. “Young Men of Promise” – Yellowbirds. What a great song title. The mid-tempo, vaguely garage-y indie-pop is strong, too.
10. “Open Arms” – Fletcher. Q: What if The Walkmen were happy? A: FLETCHER. Next question.
The Vaccines’ first album scratched an itch I didn’t know I had: hooky, buzzy, speedy rock that fell between pop-punk and pop-rock. Since finding what I didn’t know I was missing, I’ve been loving the style ever since. (I must sadly admit that I am remiss in not having checked out their recent follow-up yet.) So it was with great joy that I came across Automotive High School, which plays a similar brand of hooky, buzzy rock.
The band’s three-song demo kicks off with the perky “Look. It’s Gone.”, which marries playful verses to a driving, insistent chorus. The high vocals and treble-happy guitars in the former section both give off a charming vibe, which turns ominous and desperate for the chorus. They nail the transition between the two moods, as well as making each chorus feel a little more dark than the last. It makes for a striking tune that grabs attention. “Wonder Sings” ratchets up the playfulness, with the lead riff sounding like a children’s sing-song melody being blasted through a Sleigh Bells speaker. Closer (I know! I was sad too!) “Planks” is more like the first tune than the second, sticking to a mid-tempo romp vaguely reminiscent of Menzingers’ unusual quiet/loud structures. There’s still a bit of sing-song in the vocals, which works perfectly here.
This three-song demo couldn’t have piqued my interest more. I want to hear more Automotive High School, stat. If you’re into loud, fun, buzzy rock, you’ve got to hear this band.
Should you put your best song first on an album? The Finest Hour falls on the affirmative side of the argument, as “Never Heard of Dylan” opens up These Are the Good Old Days on the highest of notes. “Never Heard of Dylan” bears more than a passing resemblance to the energetic rock of The Vaccines, as the scruffy British quartet offers up infectious melodies and great guitar/bass interactions. They make the most of what they’ve got, which shows in later tunes like the slightly calmer “Reasons to Complain” and the fist-pumping “See for Miles,” which has serious Green Day vibes. They do incorporate some fun ska elements, but they work best when they’re sticking to four-on-the-floor rock/pop. And although “Never Heard of Dylan” is tops, it only barely edges the 14-minute (!) finale “Indigo Night,” which includes a shout-it-out use of the album title in its excellent songwriting. If you’re looking for a fun album, you should be all over The Finest Hour’s These Are the Good Old Days–cause they are.
Michael Glader‘s When On High is a fascinating amalgam, mixing ’60s psychedelic pop, rock, modern pop, and folk without succumbing to the excesses of any genre. This creates a uniquely idiosyncratic stew that keeps its own counsel. Opener “Strawberry Eyes” is a distortion-drenched, bass-driven stoner groove that features Glader modifying his keening tenor voice. Highlight “Big Spoon Little Spoon” is a solo guitar love song with the energy of a pop song, the fingerpicking of a folk tune, and the groove of a blues song. “Chasing Footsteps in the Sand” is a rhythm-and-bass-heavy pop tune. “Is This My Afterlife?” has a distant, eerie New Orleans vibe to its doo-wop. In short, this album goes all over the place, but none of Glader’s moves feel significantly out of his control. Each tune retains a dreamy, hazy sort of mood, and that keeps the album together. I’m a big fan of his quieter stuff (“Big Spoon Little Spoon,” “That’s It”), but there’s plenty for anyone to love in When On High.
The Weeping Tree by The Knitted Cap Club is a very stately record. The acoustic songwriting is very structured, and the emotion delivered by the female vocalist is quite measured. I don’t mean this as a criticism; fans of Portishead treasure those same characteristics. But this does go against the grain of modern singer-songwriter/folk, establishing a very formal entry in a world of passionate confessionals. The tone of the album has much in common with slowcore artists like Songs:Ohia, Elephant Micah, and Red House Painters, but with fewer self-pitying vocal performances.
Instead, the sparse but effective arrangements, which often include other voices, carry the mood of the tunes. Standout opener “Crown of Roses” features a whole verse accompanied only by ghostly multitracked voices, while “Eight-Thirteen” incorporates distant recorded voices for a similar effect. Even though the vocal performances don’t telegraph hurt, the lyrics of the album often do (“Heart Exchange,” “The Weeping Tree”), which enhances the ghostly, somber feel of the album. If you’re looking for something different in your singer/songwriter listening habits, try out this one.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.