Sometimes you just want something that makes you want to glide. Here are six of those somethings.
1. “Supersonic” – Dynasty Electric. Pulse-pounding dance music with a rubbery, LCD Soundsystem-style bass (which means I’m all, all, all over this).
2. “Forever in Your Debt” – Slow Readers Club. Do you miss old-school Interpol? Apply within for bass lines, night-time vibes, and general cool.
3. “Anxieties” – The Landing. Funky, smooth, quirky, perky: The Landing does it all in five minutes. Props. Mad props.
4. “Your Majesty” – Slack Armada. Song and band name are excellent fits for this tune, which re-appropriates bits that you’d hear in clubby dance hits into something majestic, slow-moving, and chilled out. There are surprises in store, as well; come for the chill, stay for the … well, I’ll let you hear it.
5. “I Want to Tell You Something” – D’Opus. Because you need more sleek, sinuous, futurist instrumental hip-hop in your life.
6. “These Days” – Martha Marlow. Every now and then, I’m totally blown away by a tune. 19-year-old Marlow’s smooth, lithe singer/songwriter performance here is every bit as assertive, clear and interesting as artists 10 years older. Watch out for her in 2014.
I absolutely love this style of dancing, and the gorgeous setting makes the actio in Flume & Chet Faker’s “Drop The Game” video even more beautiful.
Post-Echo releases records, but they also do way cool collaborative projects. PASSAGE is a movie/music collab that they’ve released in installations. The fifth part drops Dec. 3, but the trailer for the whole work is here:
Speaking of Post-Echo, it appears that going to a show by optimistic post-rockers Pan is about as much fun as I’d expect; which is to say, lots and lots. Props to the violinist for wearing proper ear protection: you’ll appreciate that in 20 years.
Are you tired of married duos singing folk-pop? ME NEITHER. The latest guy/girl duo in my inbox is Davy and Amelia, to go along with Jenny & Tyler, The Gray Havens, Destroy Nate Allen!, Venna, The Weepies, the Civil Wars, et al. Davy and Amelia’s Norah June EP leans more toward the stomping, clapping, upbeat party-folk of The Lumineers and especially Twin Forks instead of the quiet, introspective tunes of The Weepies. They also celebrate giddy romance and young married life, which sets them apart from sadder couples.
“The Summer,” “Mountain Movers” and “Norah June” (the name of their baby!) all have rousing, celebratory arrangements; “The Summer” and “Norah June” are upbeat right from the word go, while “Mountain Movers” builds to its shouted-group-vocals conclusion. “Cause Daddy’s only 22, Momma’s 21/some people say we got married young/you are the treasure of our unbreakable love/hey!” goes the chorus of “Norah June,” which means not only are they giddily in love with each other, they’re singing songs to their baby. I think that’s absolutely adorable, but I think that might send the more cynical among us running for the exits.
The songs themselves are great, full of strong instrumental and vocal melodies. The songs are predominantly based in acoustic guitar, although “Mountain Movers” shows off their elegant, cinematic piano skills nicely. If you’re not into the genre, then these four tunes won’t be exciting to you. But if you’re a fan of pop skills applied to romantic lyrics and folky arrangements, you’ll love Davy and Amelia. I look forward to hearing more about this duo in the upcoming year. Just in case you needed proof of how cute this duo is, here’s their band photo:
Lotta good stuff trying to cram its way into 2013! Here’s a varied mix.
1. “No Sleep Tonight” – Family Cave. The precision of indie-pop, the aesthetics of indie-rock, and the mood of indie-folk create an incredibly intriguing tune. Watch for Family Cave in 2014.
2. “Keep It Together” – Decent Lovers. Not a cover of a Guster tune, this DL jam is ironically pretty separated and hectic. It’s held together by a strong mood and a deep internal rhythm. Elijah Wyman is getting better and better at this really unique style of pop.
4. “Don’t Shoot the Messenger” – Miles Hewitt. Reminiscent of ’60s and ’70s protest rock, Hewitt combines old and new into a hypnotic mix.
5. “Belfast” – William Steffey. Takes cues from Oasis with dashes of Portishead and Blur, this tune sounds completely British but is totally from Chicago.
6. “Heartbreakers” – Tomorrows. The Jim Ivins Band rebrands and revamps, moving from an adult-pop template to sounds more akin to Anberlin’s early modern rock. The prominence of vocal melodies has not changed, which is good.
7. “Love Is Not Allowed” – Gap Dream. Obligatory Eno namecheck. Aside from that, this is a gorgeous, swirling mass of analog-sounding synths, modulated vocals, and electronic drums that makes me swoon.
8. “Get In It” – Nyteowl. Funky, spacey, mostly-instrumental R&B. “Do you want to get in it?” Yes. Yes, I do.
9. “Get Down Baby” – Blacktop Daisy. You’ve got to hand it to a band which unabashedly labels its music disco. No violins here, but those harmonies!
10. “Can’t Let Go” – Black Checker. This pop-rock-punk tune comes from an EP called Fast. Yup, that’s pretty much all you need to know.
11. “The Ah Ah Song” – Stand Up and Say No. I miss the days when The Flaming Lips made jubilant, illogical, bright pop tunes. This joyful, exuberant pop-rock tune is exactly that.
12. “Ain’t No Sunshine” – Magi. This Bill Withers cover is minimalist lo-fi glory: the distant recording, the raw passion in the imperfect vocals, the deep sense of mood.
I’ve been listening to Roy Dahan‘s The Man in My Head for several weeks, and I’m still struggling to pin it down to words. It’s a solo project that feels like a full-band effort, as the overall mood of the tracks is more important than any single musician. David Gray would enjoy the seriousness and gravity of these tunes, but the album still has upbeat, inviting moments like “Crush.” It’s chill and relaxing, but with a sense of tension running throughout each tune.
I guess the best descriptor is adult alternative singer/songwriter, but that sells it short in so many ways. “Nothing But Miracles” starts out with a gentle, burbling fingerpicking guitar line before expanding into a wide-open chorus: “You’ll see / there’s a beautiful place to be / and I wonder if you’ll see at all.” The subtly urgent “Farewell” pulses with restrained energy, while “Maze” has a cascading, U2 sort of vibe. The album hangs together beautifully, but doesn’t obscure the high points within it. You can play this one as a full album or pick songs out of it for your playlists. That’s rare.
Dahan’s beautiful music is tough to explain but easy to love. If you’re into things as diverse as Counting Crows, Bright Eyes, Matt Nathanson, Ray LaMontagne, or The Decemberists, you’ll love Roy Dahan’s The Man in My Head.
I’m really amused by numbers. Independent Clauses is getting to the point in its existence where the numbers of its posts correspond with years that I know historical events from. Every now and then I’ll post what number the post is. This post is brought to you by the end of the American Civil War.
Max Elto’s “Backyard Animals” combines futurist urban spaces and medieval history. Yeah, me neither, but it’s pretty cool.
Lapland’s “Unwise” combines forests, ghosts, and a color palette not that different from the previous clip.
Velour Modular’s “Forward” is a barrage of images that form a completely surreal whole. If you figure out what’s going on in here, let me know.
For Tomorrow Will Worry About Itself EP is the fifth release from the immensely productive Fiery Crash in 2013. Instead of being a glut of same-y material, each release has seen Josh Jackson (not the Paste editor) grow as a songwriter. Jackson splits his time between hazy dream pop (heavy on the guitar pedals) and no-frills singer/songwriter fare (early Iron & Wine-style), and he executes both quite well.
Due to my genre loyalties, I’m a bigger fan of the guitar-and-voice ruminations that populate the back half of the album: “Cada Ano (Version Two)” upgrades the standout from June’s Practice Shots by sweetening the vocal performance and tweaking the arrangement to a gentler end. Stealing the show on two different releases, it reminds me of bands like Mojave 3 and Peter Bradley Adams. “Headed Our Way” is the only brand-new song on the back half, and it pairs Jackson in a duet with himself: his baritone low range and his tenor high range. It’s a really effective move that I hope Jackson continues to explore. A relaxed, back-porch rendition of The Kinks’ “Waterloo Sunset” adds a nice variety to the set.
The instrumental title track opens the album with intricate guitarwork that shows off Jackson’s composing chops. “Make Sure” and “Close to Big Star” are chill indie-pop tunes which scale back the garage-y vibes that Jackson has explored on previous releases but still keep the dreamy feel.
But it’s “Come Thou Fount of Every Blessing” that grabbed my attention most. His version of the traditional hymn splits the difference between singer/songwriter and dream-pop, building from humble beginnings to a fully-arranged wonder at the end of the tune. It’s a beautiful rendition of a song that I didn’t think had a lot of creative room left in it after Sufjan Stevens’ masterful version, but Fiery Crash wrings the potential out of it with ragged drums, pedal steel, guitar pedals, and voice. Just beautiful.
Fiery Crash has had quite a 2013, transforming from a untempered outfit awash in reverb to a fine-tuned singer/songwriter project with a clear vision. To say that I expect great things from Fiery Crash is to undersell the great things he’s already accomplishing; I expect that many, many more people will discover Fiery Crash’s greatness soon. For Tomorrow Will Worry About Itself EP is a release you need to hear.
The delicate, personal work of Novi Split is deeply underappreciated. I understand why: the songwriting project of David J specializes in erratically-timed releases that seem purposefully calculated to fly under the radar. His 2004 release Keep Moving blew my mind, so I have powered through these roadblocks ever since then to track down his music. However, not everyone enjoys scouring the corners of the Internet for tunes (2005 forever!), so Novi Split has stayed a mostly personal joy.
But now David J has collected four songs into the Creeping Around Your Face EP, his first proper release since 2011. The two originals and two covers are delicate, gorgeous tunes that showcase everything that is good and right with this band. David J’s gentle voice sounds completely effortless, as his tenor is clear, warm, and precise. He pairs his easygoing vocals with tidy, even fragile fingerpicked acoustic work. If Iron & Wine’s early work had been recorded hi-fi, it may have sounded like this.
The title track opens the set: “hold me in the dark/until the morning light come creeping around your face.” It’s a deeply romantic tune that looks not just at the highs of love, but the trials and travails of commitment to another person: “It’s so hard to be back home/and it’s so brutal to be on your own/and it’s been two weeks now, and I haven’t changed/says we are who we are, and we essentially stay the same.” The strings swell, the banjo plucks, and the drums create a nice backdrop to the optimistic, moving conclusion: “Baby, let’s have another baby,” repeated until David J’s voice fades away.
Iris Dement’s “Our Town” comes next, with David J adding his own arrangement style to it nicely. (You may know it as the song that played throughout the whole last scene of the last episode of Northern Exposure.) David J has an ear for finding songs that have sweetness and sadness in them; among the obscure tracks spread about the Internet are covers of Robyn Hitchcock’s “Madonna of the Wasps” and Material Issue’s “Very First Lie,” which both show off the talent. “Our Town” and the other cover, Daniel Ahearn’s “Light of God,” both have that tension of sweet and sad, which I’m a total sucker for. I don’t think I’ll able to hear the originals without thinking of Novi’s versions. That’s the mark of a great cover.
“Stupid” is a little more upbeat than the other three tunes, but it still retains a gentle, nylon-strings guitar feel. A country vibe rings in this one, with an electric guitar doing its best pedal steel impression. Distant horns give the track a majestic, stately feel, and the overall impact is impressive. It’s clear that a great amount of work went into making these songs sound like they happened effortlessly.
I don’t usually throw down 500 words about four songs, but Novi Split is completely worth the treatment. The Creeping Around Your Face EP is a masterful quartet of tunes by an artist who has been doing this for a very long time. If you’re a fan of intimate, personal, romantic singer/songwriters like Ray LaMontagne and David Ramirez, then you need to know about Novi Split. David J is one of the best songwriters we have writing today, and there needs to be more people on that train.
Horizon is a recurring feature where a brand-new artist with promise and room to grow gets featured.
Multi-instrumentalist Dylan Michael Bentley has a wide Neil Young streak and really loud drums. I don’t usually mention the percussion in country-rock releases, but Bentley has put a great amount of emphasis on it throughout Change in the Wind. When the skins are at their finest, the thumping bass drum and snappy snare give a punchy, raw feel to his sound (the title track, “Candle”); when they go a little awry, it gives his sound a chaotic, impassioned sound (“Knock, Knock,” “Blame It on the Weather”). Since the whole album is clearly an artist making the most of the materials at hand, the latter is more on the endearing side than the annoying one. “Woman in a White Dress” is the sort of exciting instrumental digression that makes me overlook erratic rhythms; the solid acoustic-based songwriting within more than makes up for it. There are always drummers around waiting to jump in on hot projects, you know?
Those who are interested in clockwork perfection will find elements of this release not to their ken, but did I mention there’s a big dose of Neil Young involved? Bentley’s yearning, Young-esque voice will be enough to scare off haters and pique the interest of new fans. Bentley’s got a way with a harmonica, an enthusiasm for traditional songwriting, and tons of motivation. Change in the Wind isn’t perfect, but it’s a strong opening statement from a young artist. I look forward to see where he goes from here. And I hope he picks up a drummer.
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.