This Pale Fire‘s Alchemy is a svelte modern folk record that focuses on atmosphere and space. The delicate electric fingerpicking, emotion-wracked voice, and subtle arrangements of Corban Koschak’s project call up dusky visions and streetlight thoughts from the awestruck opener “Northern Lights” to the piano-led hush of “Outro.”
In between, there are moments of pristine chill (“The Sky,” “Mountains”) solid popcraft (“Float Out”), and post-rock fury (“End of Science”), although the album is much more heavily weighted to the former two (“Wolf,” “The Stag”). Strings, percussion, and other elements wend their way through the work, but it’s Koschak’s confident, engaging voice that takes center stage throughout. Fans of Hozier, Vance Joy, Passenger, and other serious singer/songwriters will find much to love here.
1. “Moonshine” – Winnie Brave. If you generally like the things I post on this blog, you will almost certainly like this song: shuffle drums, strong female vocals, pedal steel, even tasty organ. But there’s no alt about this: this is straight-up country. Get on the train, friends. Jump on it. There’s no shame.
2. “Go” – Glen Phillips. There are few people who have two full careers in music in their lives, but Glen Phillips is closing in on it: having been one of the staples of the ’90s in Toad the Wet Sprocket, he has remade himself into a troubadour par excellence since then. This latest tune shows off his mastery of the nuanced vocal performance, satisfying arrangements, and enveloping moods. Just stellar stuff.
3. “Kool Aid” – The Lords of Liechtenstein. This chipper post-Dixieland major-key folk tune evokes contemporaries like Jonas Friddle and vintage performers. (The banjo and piano work together beautifully here.) The satirical lyrics extend the horrifying-situation-turned-metaphor “drinking the kool-aid” (apropos for our current era in many ways). The video drives home its political point even more clearly.
4. “She Got Time” – The Morning Yells. If there’s a point where Laurel Canyon country meets Bruce Springsteen-esque road-rockers, The Morning Yells were born on that spot. Throw in some Dawes for modernization (although Dawes is always looking back too), and you’ve got a breezy-yet-grounded track that’s tailor-made for a late-night drive up Pacific Coast 1.
5. “Heavy Eyes” – Palm Ghosts. I try to avoid the word “dreamy” because it’s so over-used, but this chilled-out tune feels genuinely like a dream: it feels totally concrete but also gauzy around the edges, sort of like there’s something just over the next ridge that will pop the bubble, but until then it’s all floating and hazy. That tension is impressive, and gives this indie-folk/indie-rock track a unique feel (even among all the “dreamy” work out there).
6. “Paint the Road” – Sierra Blanca. Sierra Blanca’s stately, engrossing “Paint the Road” made me think of John Denver’s endearingly earnest delivery, James Taylor’s gentle guitar delivery, and Simon’s subtle rhythmic elements. That’s pretty rarefied air, even decades after the high points for that trio.
7. “Northern Lights” – This Pale Fire. The subdued, even reverent murmur that is this track draws on excellent arranging and a great engineering job to create its beautiful, nuanced vibe.
8. “Thursday Lights” – Frozen Houses. This tune has both delicacy and density, as synths burble and dance in the background of this friendly, almost tropical acoustic-led piece.
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.