Josh Ritter’s debut Hello, Starling showed flashes of brilliance that hinted at the incredible things to come. Seattle singer/songwriter Ben Fisher‘s Heavy Boots and Underwoods gives off a similar vibe. This connection is partly invoked by Fisher’s choice of sounds, as he writes in organ sounds similar to those used on Starling standout “Kathleen” in opener “Thunderbird” and “Stars Like Bears.” Another aspect is Fisher’s confident vocal delivery: clear and bright, his inflection-laden tenor carries the album.
Written and recorded with deep attention to detail, the songs on Heavy Boots and Underwoods are uniformly beautiful. That beauty manifests in many ways: easygoing charm (“Cast Your Line”), dramatic storytelling (“El Llano Estacado”), off-the-cuff folk strum (the title track) and more. Fisher is adept at guitar and banjo, bringing a great deal of variation to song moods with his multi-tasking instrumental skills.
As Starling sets a foundation for Ritter, so does Heavy Boots and Underwoods for Fisher. It’s clear to me that Fisher has a unique songwriting skill that he is only beginning to tap: subsequent albums should help him break away from his Ritter comparisons and into his own voice. The tightly-reined intensity that runs through “El Llano Estacado” and “Bed of Ash” points to a future lyrical and/or musical ferocity that could put Fisher on some big stages.
Heavy Boots and Underwoods is a rare treat: a singer/songwriter’s debut that puts a foot toward a unique future while tipping a hat to its forebears. Highly recommended.
Charlie Betts, whose “unique, divisive voice” I wrote about in January, has another whole album ready for alt-country fans. It’s very similar to his previous work, so old fans and newly interested parties can check out A New World at his Bandcamp.
Many blogs cover pop-punk in great detail, which is why I’ve written about it less as of late. However, A Road to Damascus‘ brand of pop-punk/emo/screamo has been on my radar since early 2010. Their new self-titled album makes me think back fondly on the year 2003, when Tell All Your Friends/Your Favorite Weapon/War All the Time were the thing, yo. The band pulls out all the stops: pop-punk riffs, hardcore breakdowns, sky-high sung vocals, screams and melodic hooks galore. If you’re into emo/pop-punk, consider your day vastly improved. Pick it up from iTunes and/or check out this music video (which should also induce early ’00s flashbacks).
And Run Hundred released a list of top ten best songs from August to hear while running/working out. From founder Chris Lawhorn:
Pitbull, Ne-Yo, Afrojack & Nayer – “Give Me Everything (Sidney Samson Remix)”
Nicki Minaj – “Super Bass”
Switchfoot – “Dark Horses”
Gym Class Heroes & Adam Levine – “Stereo Hearts”
Lady GaGa – “Edge Of Glory (Bare Noize Remix)”
Pitbull & Marc Anthony – “Rain Over Me”
Nadia Ali, Alex Kenji & Starkillers – “Pressure (Alesso Radio Edit)”
T.I. & B.o.B. – “We Don’t Get Down Like Y’all”
LMFAO, GoonRock & Lauren Bennett – “Party Rock Anthem (Russ Chimes Remix)”
Alexandra Stan – “Mr. Saxobeat”
“China Shop” by Montpelier is a swooning, ethereal indie-pop gem built off an accordion, burbling bass and wonderfully fragile vocals. I dare you to get this Australian wonder out of your head.
Wiredrawn‘s fuzzy, slacker-tempo indie-rock on “The Silver Screen” should make Guided by Voices fans perk their ears up.
“Dinner with Jack Donaghy” is an awesome EP title, which is half the reason I listened to “Another Round” by Lerix. The lazy, dreamy backing track to the rap is memorable as well.
It’s very telling that Kevin McMahon produced Battle Ave.‘s War Paint, as McMahon had a hand in both Titus Andronicus releases, work by The Walkmen and Frightened Rabbit’s The Midnight Organ Fight. Each of these bands feature an extremely emotional singer going nuts in an atypical musical setting, and War Paint is not outside McMahon’s oeuvre in that regard.
Battle Ave’s unhinged frontman is Jesse Alexander, whose anguished voice ranges from indignant slurring to full-on roar. It’s highly reminescent of Patrick Stickles’ voice (Titus Andronicus). But instead of couching it in a workingman’s punk ethos, Battle Ave. sets Alexander in the midst of an indie-rock maelstrom.
The band can get just as furious and frantic as TA (“Whose Hands Are These?”, every other song on the album), but the bands start at different ends of the spectrum. Andronicus’ pathos comes after a calming down of rage, while Battle Ave ratchets up to a cacophony.
Battle Ave. strangely calls to mind the band that Patrick Stickles least likes to be compared to: Bright Eyes. Those who love the catharsis of “Road to Joy” and the conviction of tunes like “Train Underwater” and “Another Traveling Song” will find emotional analogues here, especially in the gorgeous, horn-filled “Complications w/The Home (Hernia)”. Most of BA’s tunes blow up past the heavy end of “Road to Joy” at their apex, but you’ll feel a similar emotional connection.
In stark contrast to I’m Wide Awake, It’s Morning, however, the songs sprawl all over the place. Their length and seeming formlessness (exactly zero choruses) call to mind Braids’ Native Speaker, although these guitars definitely go to 11 (“Puke Lust”). Because of that, it’s a tough album to grab onto. It’s not designed to be catchy, nor is it organized in easily digestible bits. This is art. The band is saying something, and if that’s not your thing, then this isn’t your thing.
Thanks to the vocal delivery, however, it’s difficult to make out what the point is. Track titles, album art and snatches of lyrics here and there make out the beginnings of a picture, but this (like The Monitor) is an album to which listeners should dedicate time. That’s an incredible artistic risk in this day and age, but I believe music is worth that, so time it will get (from me, at least).
I realize that I’ve spent less time describing songs and sounds than I usually do. I can explain that “Complications w/Traveling” is a noise-laden dream dirge, but that doesn’t make a lot of sense. Battle Ave.’s compositions are pretty unique, so I don’t want to waste time explaining every detail. I do, however, want to convince the people who might listen to it that they should – and the import of the album is the best way to discuss that.
The album really does have weight. The guitar tones and styles lend the album a cohesive feel, even when the band incorporates carnivalesque rhythms (as in the standout, 10-minute “”K. Divorce” (For Mildred)”). This was painstakingly written, crafted and ordered, and as a result War Paint is one of the most interesting indie-rock albums I’ve heard all year. If you’re into noisy indie-rock as art, then you should do yourself a favor and pick up Battle Ave.’s latest – you’ll find many moments of bliss.
Shorthand Phonetics‘ newest garage rock opus is out, and I do mean that literally, as it is titled “Cantata no. 6 (Assistants of Assistants) in Varying Keys, Op. 25 for Three Electric Guitars, One Bass Guitar, One Drum Kit, One Tenor and Additional Voices Where Appropriate.” I would give a full review, but I am credited with two lyric contributions (“Dirk Nowitzki vs. The Heat,” “The Bachelor Party, or Standing Next To”) and one musical contribution (“Overture”). I’ll just say this: it’s no-holds-barred lo-fi garage-rock that is some of Ababil Ashari’s best work yet. If you like restraint or subtlety, however, you might apply elsewhere.
Some sounds are divisive, whether intentionally or not. If you’re into Nick Cave, Grinderman, The Raveonettes, Tom Waits or anyone else of the “life’s underbelly is gorgeous” ilk, you’re going to be super-down with Mr. Lewis and the Funeral 5‘s Delirium Tremendous. Their lucidly-named album is a rollicking, swinging tour de force through inviting, burlesque-style darkness. It’s like the seedy New Orleans you see in movies. Special shout-out to the tone-setting stomper “I Found Love on the Highway” (opening lyric: “Well, there’s murder and cheap can beer all along the highway”) and the cover of the Kinks’ “Alcohol.” It does start to run together toward the end of the hour-long length, but you will definitely be in a different mental place by the time you get there. I would wager they think that’s success.
I connect with highly idiosyncratic singer/songwriters: Regina Spektor, Brandi Carlile, Owen Pallett, The Mountain Goats. If she’s gunning for entry the Great American Songbook, she must be immediately distinguishable or as suave as Paul Simon.
Terra Naomi trends more toward the latter in To Know I’m OK. She projects a superb confidence throughout this collection of pop songs, even when she gets vulnerable. That attribute alone is enough to carry this album of piano and acoustic guitar-led tunes. Whether appropriating Ingrid Michaelson/Regina Spektor perkiness (“You For Me”), Brandi Carlile emotional bravura (“Someday Soon,” “To Know I’m OK”) or Kelly Clarkson drama (“Not Sorry”), Naomi sells the tunes assuredly. She owns these tunes, no matter who produced them, what sound they resemble or who covers them. All four of those songs are hits waiting to happen.
Naomi leans heavily on songcraft because no element of her sound has massive takeaway value. Her voice, instrumentation, arrangement and production are all solid, but each part is in place to serve the melody and lyric.
Paul Simon crafted unassuming, brilliant tunes through subtle hooks and devastating emotional turns, and Naomi does the same when she’s at her best. Nuance is lost on “If I Could Stay” and “Everybody Knows,” but fans of straightforward women’s singer/songwriter fare will love them (bonus: Rachel Yamagata contributes guest vocals on both tracks).
To Know I’m OK is a heartfelt, magnetic album of pop songs that shows off Naomi’s skills. You won’t be disappointed when you check out “You For Me” and the title track.
