With an honours degree in classical guitar, it is not difficult to hear the talent of Sydney, Australia’s Cameron James Henderson. “This definitely influences my composition,” he says. Influenced by the obvious–Bob Dylan and Tom Waits–it is refreshing to hear echoes of Jim Campilongo, Blake Mills, Ry Cooder, and Marc Ribot coming from his guitar. There is also a vibe that comes from down under. “Definitely John Butler and Ash Grunwald were guys I looked up to heaps during high school. Saw both of them a bunch of times etc and played their songs,” says Henderson.
The twelve-song Storm Rollin’ Inis a treat for blues-folk fans worldwide. The laid back shuffle of opener “Storm Blues” feels like the salt air and beaches of Sydney. Simple, elegant storytelling follows with “Across the Water,” whose guitar work shines. “Lifeboat” features satisfying slide guitar work, while classic guitar riffs blend Stevie Ray Vaughn and John Butler Trio beautifully. The metaphor-filled “Refugee” is a bit of brilliance. Channeling Bob Dylan in vocal style, the song is a powerful testament to humanity’s weaknesses. The mix is stellar, allowing the song to breathe out the message freely.
“No One’s Here/Cares” has a Ray Wylie Hubbard vibe, throwing down a groove that rocks. Sprinkled with harmonica and songwriting nimbly mirroring songwriter Chris Gillespie (AU), this song is an incredibly fun romp. Sequencing on this album works together to create an experience; without “Stand Amazed” (the intro), “Floating” would lose the power of imagery. Stark and haunting acoustic guitarwork slides into the song gracefully. Vocals are layered in with classical guitar composition–simply beautiful musically and lyrically. “Wisest Man” is a shout in the dark, back in the folk singer-songwriter style with an essence of The Milk Carton Kids.
Things shift adeptly to “Old Man Stomp,” then abruptly jump to “Shelter,” as if one could not be there without the other. B.B. King makes his voice heard, here. There is a familiarity with the easy rolling songwriting, hearkening back to the beginning tracks of Storm Rollin’ In. “She’s Not There” brings in what sounds to be the ocean, a continuous pull of life that gives a fluid foundation to the pain of love. “Don’t Go Drifting” closes out the album in style. Soaring, J.J. Cale-style electric guitar and vocal phrasing give an extra punch to the message of the song. This follow-up to Cameron James Henderson’s 2014 debut album is a step up in songwriting dexterity and composition, showing a new depth in vocal delivery. Get yours at www.cameronjameshenderson.com/. —Lisa Whealy
Indie folk rock musicians Red Sammy & Some Charming Trespassers channel some greats here in their latest release, True Believer, dropping this fall. Taking a page from the song book of Tom Waits is a challenge, often landing in a crash. This is definitely not the case here, with a collection of eight songs that feel like a throwback to something past, a campfire along the train tracks of life.
Adam Trice is Red Sammy, and that is an important distinction to make. His songwriting is inspired, simple and down to earth. Storytelling is a lost art to many indie musicians; a few come to mind, like Sedona’s decker. and Brooklyn transplant Charles Ellsworth. Both pull in ghosts from the greats as shadows to call on. Some Charming Trespassers are a band of highly skilled musicians including Sarah Kennedy (violin), John Decker (resonator), and Rebecca Edwards (backing vocals) who, with the help of sparse arrangements, play a simple part in the success of this album. They are vehicles that get out of the way and let the music soar.
Opener “Caribou” takes this release out in a stampede for people not yet familiar with Red Sammy. Subtle and powerful, it weaves together a beautiful violin and loaded lyricism. At a little over three minutes, a lifetime is a picture the song paints. “Barefoot in Baltimore” is a love song in the tradition of Appalachian bluegrass, except this is coming out of Maryland, which makes it all the more transcendent of race and economic status. Music is a great equalizer, and “Barefoot” is just that.
“Chickenwire” is poetry bleeding with pain, and “Western Bound” is pain bleeding with hope, all done with skilled arrangements and poetry. Strange thing is, the message is the same, just wrapped in different ribbon. “Heaven the Electric Sky” is filled with harmonic echoes that flesh out the song, reinforcing the band’s stated desire for sparse arrangements on this album. The music shines. Choices like this make this album, and indie music in general, such a force.
“I Knew You Better” is a testament to thinking and how this is a dangerous pastime. Violin-driven, it is terrific. “Santa Ana Wildfire” is that drawn out feeling that isolates us all. As a bit of sequencing genius, it tells a beautiful story that is a complete contradiction and paradox to the previous song. True Believer closes with “Aunt Mary”: sometimes all there is in life is the comfort of an old song, a campfire, a cold beer or a cup of coffee with friends. Desperation is a shared and palpable thing, with taste, sound, and feel. Let this one settle in like a pair of well-worn boots. —Lisa Whealy
Teeth Marks by New Dog is not a record that fits in with a lot of trends. The gorgeous, spartan, 10-song solo record from Anar Badalov is best consumed as a whole, doesn’t have a clear single, doesn’t traffic in huge melodies, unflinchingly documents modern ennui, and subsequently could not be considered “fun” in very many ways. However, it is the sort of record that enfolds me, transports me, and calms me. It has depths to be plumbed, sonically and lyrically. It rewards those who take time with it, as opposed to trying to digest it on the fly. It is a grower, and it requires you to wait. But it rewards those who delve into the record with a singular, intriguing, mesmerizing experience.
Badalov alternates between delicate guitar and careful piano to create the foundations of this record. (The exceptions are the gorgeously arpeggiated “3 a.m.” and the electric guitar of “Here All Days.”) Over those instruments he whispers, talks, wonders, ponders and even sometimes sings. He approaches vocals more like Tom Waits or Leonard Cohen–there are some melodies, but melodies are not required to create indelible vocal performances. This dismissal of the standard rules opens up a lot of space for Badalov to create tunes: untethered from the expectations of melody, the verse/chorus/verse structure that supports big melodies goes out the window too.
As a result, the tunes sometimes have repeated sections, and sometimes don’t–sometimes the repetition is only a fragment of a thing. Instruments drop in and out of songs; sections lead to other sections and then don’t return to the first thing. It creates an air of mystery and excitement, even in the supremely downtrodden lyrical environment. There’s an idea around every corner; not in a hectic, herky-jerky sort of way, but in a “whoa, come look at this” sort of way. Check out “Lover’s Palm” for an example, or “Sudden Amnesia,” or “3 a.m.” to hear it in action.
And although acoustic guitar and piano create the framework, there’s a lot of distorted synths that enforce a sort of sonic isolation and grinding intensity to the otherwise chill tunes. The use of the noise in contrast to the relaxing arrangements accentuates the lyrics that alternate between very meticulous descriptions of modern ennui (“Here All Days,” “Home by Five,” “Nothing Has Changed”) and the intensity of regrets (“Joe Brainard’s Idea”) and fear of aging (“3 a.m.,” “The Party”). It’s just another carefully planned element of the album.
Teeth Marks is so completely realized that the album artwork is essentially what I would have made up for it if I had to choose it on my own: rich dark blues ripped by a sudden energy (in this case, a flash of lightning). I would have thrown a cityscape in there in substitution for the trees, but otherwise the album art evokes its contents beautifully. If you’re up for a singer/songwriter album that breaks the mold in a variety of ways, New Dog’s Teeth Marks will pleasantly surprise you.
1. “Spring” – Sam Burchfield. Measured guitar strum and an evocative vocal performance draw me in, but it’s the gentle keys and the ragged drumming that give the song character. The rest of the song just seals the deal. Shades of Brett Dennen here–nothin’ but a good thing. What a single.
2. “Vacation” – Florist. Within seconds the tentative, relatable guitar picking has drawn me in entirely. Emily Sprague’s tender, confessional delivery gives this a magnetic appeal usually reserved for acts like Laura Stephenson, Lady Lamb, and old-school Kimya Dawson.
3. “Little By Little” – Niamh Crowther. The melodic folk-pop is charming, and then she starts singing and it jumps way up into the stratosphere. Her voice is just remarkable. Serious one to watch here.
4. “Nevada City” – John Heart Jackie. Pulls the incredible trick of not feeling like a song, but like part of the environment you were already in, turning the corners brighter and lightening the vibe throughout. The easy maturity of this tune is not to be underrated or underestimated, especially when it bursts into a beautiful crescendo near its midpoint. Undeniably powerful.
5. “Reality Show” – Sam Joole. Adept at reggae and acoustic pop, Joole blends the lyrical and musical sentiments of both into a piece of spot-on social criticism about social media that doubles as a chill-out track.
6. “A Bone to Pick” – Ten Ton Man. The gravelly, circus-like drama of Tom Waits’ work collides with the enthusiastic world-music vibes of Gogol Bordello to create an ominous, memorable track.
7. “Walk Right” – Pete Lanctot and the Stray Dogs. An old-timey revival is the site of this tune, where the stray dogs admonish all those listening to forsake their lives of sin and “walk right.” The vintage sound is updated with great production and a hint of a knowing wink.
8. “15 Step” – Phia. The kalimba-wielding indie-popstress drops a gently mindbending cover of the Radiohead tune with just thumb piano, distant guitar, claps, stomps, and layered vocals. Just whoa.
9. “It’s Not Your Fault” – Gregory Uhlmann. Soft woodwinds deliver pleasant texture to this swaying, loose, thoughtful piece. Uhlmann captures a beautiful, unstructured mood here.
10. “If I Go” – Jake McMullen. Hollow and distant yet visceral and immediate, McMullen creates slowcore acoustic tunes similar to those of Jesse Marchant or Gregory Alan Isakov at his most ethereal. Shades of Damien Jurado’s tortured voice creep in too. It’s gorgeous stuff.
I’m all about alt-country, which is a deceptively hard genre to get right. You can’t lean too country, or too indie, or too singer/songwriter. Red Sammy walks the line between all of these with a tune that’s equal parts Tom Waits, Counting Crows, and Jayhawks.
Adam Trice’s rough vocals aren’t the only place that Waits comparisons fit: “Sometimes You Forget What’s Real” is a long, walking-speed tune that relies heavily on a world-weary mood to compel listeners’ ears. There’s a genial, earnest feel to the guitar that calls up August and Everything After-era Counting Crows, while the weeping electric guitar gives the tune a big ‘ol “alt-country” stamp not too far from the Jayhawks’ work. Extra bonus: Mountain Goats-quality yawps at the end of the vocals’ contributions. The whole tune comes together so beautifully that it’s hard to believe that it’s over 6 minutes long. If you’re into old-school, loose folk/country jams or any of the previous acts, this tune will perk your ears up.
“Sometimes You Forget What’s Real” is the lead single on an upcoming album, set to drop Fall 2015.
3. “Picture Picture” – Tall Tall Trees. Kishi Bashi contributed strings to this giddy, major-key alt-hip-hop/singer-songwriter’s tune. It’s pretty amazing.
4. “Billions of Eyes” – Lady Lamb the Beekeeper. Lady Lamb opens her sophomore campaign with a tour de force grower that moves toward indie-rock, away from the Neutral Milk Hotel-ish psych, and maintains the inscrutable, impressionistic lyrics she’s known for.
5. “Laurel Trees/21 Guns” – Jet Plane. The opening moments of this 10-minute post-rock piece mix fragile strings and bagpipes with grumbling guitar noise to set the scene. The rest of the tune is a leisurely unfolding track that follows that same pattern, albeit with more clean guitar.
6. “New Year’s Retribution” – More Than Skies. What if Tom Waits had played in a punk band and adopted modern folk arrangements to go along with it? This sad, pensive 8-minute track has twists and turns galore.
7. “Lo and Behold” – Sarah Marie Young. More and more people are picking up vintage vocal styles and combining them with modern instrumental styles. Young has a crooner’s voice added to some funky R&B bass and keys, making for a smooth, head-bobbing track.
8. “Pores” – Hand Sand Hand. “Rumbling” is what I call things that sound ferocious but never get a sharp, brittle edge. This post-punk track presses forward with all the power of a much heavier band and keeps me glued to my seat.
I got married in November, which means I’ve been celebrating my way through the last few weeks instead of listening to new Christmas music. This means that instead of meaningful reviews, I have a large list of things that you and I should both listen to. I regret nothing. ONWARD!
The Good Shepherd Band, which released a beautiful Christmas album in 2011, are back with a new one entitled All the Bells Shall Ring. If it’s anything like the opener “O Come Let Us Adore Him” (starting off with an Advent hymn; I approve) and the last album, we’re in for big, church-style hymns in oft-triumphant arrangements. Wonderful!
Quirky, reverb-heavy indie-pop band SUNBEARS! offer up a 10-minute EP of Christmas music. It’s sure to be as thoroughly enthusiastic as its name: SUNBEARS! Do CHRISTMAS!
Vintage-style acoustic duo The Singer and the Songwriter are dropping 12 songs (in video form!) for the 12 Days of Christmas. Sounds lovely! Check it at their YouTube.
1. “Great White Shark” – Hollands. Maximalist indie-rock/pop music with groove, noise, melodic clarity, effusive enthusiasm, strings, harp, and just about everything else you can ask for. If the Flaming Lips hadn’t got so paranoid after At War with the Mystics…
2. “Coyote Choir” – Pepa Knight. Still batting 1.000, Pepa Knight brings his exuberant, India-inspired indie-pop to more mellow environs. It’s still amazing. I’m totally on that Pepa Knight train, y’all. (Hopefully it’s The Darjeeling Limited.)
3. “Peaks of Yew” – Mattson 2. I love adventurous instrumental music, and Mattson 2 cover a wide range of sonic territory in this 10-minute track. We’ve got some surf-rock sounds, some post-rock meandering, some poppy melodies, some ambient synths, and a whole lot of ideas. I’m big on this.
4. “Firing Squad” – Jordan Klassen. Sometimes a pop-rock song comes along that just works perfectly. Vaguely dancy, chipper, fun, and not too aggressive (while still allowing listeners to sing it loudly), “Firing Squad” is just excellent.
5. “Droplet” – Tessera Skies. There’s a tough juggling act going on in this breathtaking indie-pop tune: flowing instruments, flailing percussion, cooing vocals, and an urgent sense of energy. It’s like if Jonsi’s work got cluttered up with parts and then organized neatly.
6. “Available Light” – David Corley. If Alexi Murdoch, Tom Waits, and Joseph Arthur all got together and jammed, it might sound something like this gruff yet accessible, vaguely alt-country track.
7. “Blue Eyed Girl” – Sam Joole. I’d like to make a joke about blue-eyed soul here, but it’s actually closer to Van Morrison’s “Brown Eyed Girl” than that. Lots of laidback guitars, good vibes, but not Jack Johnson twee, if you know what I mean.
8. “By the Canal” – Elephant Micah. I’m a big fan of people who aren’t afraid to let an acoustic guitar and voice splay out wherever they want and however long they want. Here, EM acts as an upbeat Jason Molina, putting the focus on his voice instead of the spartan-yet-interesting arrangements. Totally stoked for this new album.
9. “If It Does” – Robin Bacior. In this loose, smooth, walking-speed singer-songwriter tune with maximum atmosphere, shades of early ’00s Coldplay appear. That’s a compliment, people.
10. “Storm” – Dear Criminals. Not that often do I hear trip-hop, even in an updated melodic form. Way to go, DC–you pick up that torch that Portishead put down.
11. “You Open to the Idea” – Angelo De Augustine. Beautiful, delicate, wispy, earnest whisper-folk. They don’t make ’em like this very often anymore.
12. “Billowing Clouds” – Electrician. The mournful, affected spoken word over melancholy, trumpet-like synths makes me think of an electro version of the isolated, desolate Get Lonely by The Mountain Goats.
13. “Blue Chicago Moon (demo)” – Songs: Ohia. Until Jason Molina, I’ve never had a personal connection to the art of a troubled artist who died too early–Elliott Smith was gone before I knew of his work. Now with unreleased demos coming out consistently after Mr. Molina’s death, I feel the sadness of his passing over and over. Each new track is a reminder that there was work still to be made; it also feels like a new song from him, even though it’s objectively not.
Is this how a legacy gets made in the digital era? How long will we keep releasing new Molina songs, to remind us that he was there, and now he is not? (Please keep releasing them.) Will the new songs push people back to “The Lioness”? Will we keep these candles burning to light our own rooms, or will we bring them to other people? “Endless, endless, endless / endless depression,” Molina sings here. Is it truly endless? Are you still depressed? Does your permanent recording of the phrase make it truly “unchanging darkness”? “Try to beat it,” he intones, finally. Try to beat it, indeed. Keep trying until you can’t anymore. And then let your work stand forever. I guess this is how I mourn.
Clara Barker’s songwriting is impeccable on Fine Art and the Breslins. The Isle of Man (!) resident’s folk and acoustic indie-pop tunes have a classic songcraft flair about them; she breathes life into rhythms and arrangements that would seem like tropes in others’ hands.
She’s able to do this in part because of charming moods: it’s just fun to listen to tunes like “Angel” and “Love (Fill My Heart).” Both are happy songs that make me bob my head, clap my hands, and sing along. Are the strum and percussive patterns familiar? Yep. But that’s what makes it so immediately lovable. She also dabbles in melancholy, Verve Pipe-style Brit-pop (“Dodging Bullets,” “Seth’s Song”), which is a nice change of pace.
Her lovely voice also helps get through any complaints about formal songwriting. Her perky, buoyant voice gives her a bit of a manic pixie dream girl vibe. It puts her in league with other beloved indie singer-songwriters like Ingrid Michaelson and She and Him. This is nowhere as prevalent as “The Bees Song,” which is a twee love song that includes a toy piano (or similar sound). In short, Clara Barker’s songs are comfortable, lovable, and fun to listen to. I’m behind anyone who can hit that trifecta.
Bon Iver may sparked a surge in mopey folk singers (whom I love, let it be known), but it’s good to know that there are still bands who think that folk music is wild, crazy, and a little dangerous. Push play on The Loose Canyons’ Strivers’ Row and you’ll get immediately introduced to the raucous “If We Don’t Know By Now,” which sees the band blasting forward with train-whistle rhythms, energy galore, and a slicing harmonica. The next track lets the guitarist rip off a blazing guitar solo in-between gruff, growling vocals. Tom Waits lite plus The Low Anthem? Yes please.
Even when the band slows things down they retain that ragged flair. “My Tendencies” is technically slower and led by a female vocalist, but this just means that they sound like they’re luring you into a back alley somewhere. And they still manage to get an overdriven guitar and wailing harmonica into the arrangement.
By the time you get to “7th Day,” the vocal-centric, harmony-friendly, even sweet tune seems like it’s coming from some other band. It shows the impressive diversity of Loose Canyons; they can fully inhabit their moods and shed them just as quickly. They circle the wagons for a final track, where all the moods (tenderness, gruffness, instrumental prowess, vocal-centricness) come together. “John Lennon” is a pretty impressive track, if only for the amount of things it crams in. I’m still partial to those raucous first two tracks, but that’s a personal preference thing. The Loose Canyons are great on each of these five songs, and you’d do well to check them out if you’re into folk music.
Bunches of MP3s have come my way recently, and I’m happy to share some with you. Come back on Friday for the Spring/Summer mix!
1. “Reno” – Shareef Ali. Anti-folk, acoustic-punk, and country converge on this memorable, attitude-filled breakup tune. (Ali’s CD release show is tonight, if you happen to find yourself in San Francisco.)
2. “Blankets” – Matthew Fowler. Fowler has a smooth, soothing voice that sounds far more mature than his 19 years. Fans of Josh Garrels and Ray LaMontagne should take notice.
3. “The Lampolier” – Grover Anderson. As fall moves toward winter, let’s move from pretty singer/songwriters to the haunting, backwoods Appalachian murder ballad tradition. The production here is particularly notable.
4. “Down to My Soul (The Music)” – Kate Vargas. When a woman says she’s influenced by Tom Waits, that gets my attention. Vargas delivers on that promise with raspy, soulful, inspired folk full of banjo and danger.
5. “Strugglin’” – I Am the Albatross. This one also starts out as a Tom Waits-ian folk ramble, but it transforms into a Gogol Bordello folk/punk/polka blaster complete with vengeful religious imagery. All aboard!
6. “All Walks of Life” – Mike Dillon. I’m used to Mike Dillon’s unclassifiable madness played at 3 zillion BPMs. This unclassifiable madness includes a significantly chiller body before a naturally madcap coda but is no less weird: it still includes vibraphone, trombone, drums, and Dillon’s crazy vocals.
7. “Alta / Waterfall” – Fear of Men. Jangly indie-rock urgency married to the rich, dusky landscapes of Bowerbirds and the like.
8. “Blight ft. FatRat Da Czar” – We Roll Like Madmen. Very smooth, dark, crisp electro here. FatRat Da Czar raps some really nice flow over it, really making this track.
9. “Ruin” – Vedas. The PR for this one calls it a “hollow depletion of hope,” which makes me want to try and cheer them up. Their James Blake-ian electro-pop/R&B/indie/whatever stuff is definitely attractive, though. All is not lost, yo!
10. “Reset” – Maggie McClure. Here’s a cathartic, female-fronted, piano-based pop tune for those who never stopped secretly loving The Fray and The Goo Goo Dolls.
11. “RaVe (feat. Kris English)” – Cloud Seeding. Is it folk? Is it electro? The lines keep getting fuzzier. Either way, this one is a lithe, easy-moving track.
12. “There Was a Time” – Corea Blue. Lo-fi can always get grittier, y’all. Props to this track for creating a zen-like mood and tone while using tape hiss as an instrument.
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.