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Mint 400’s Patchwork shows its diversity of sounds

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I’ve covered digital label Mint 400 Records before, because I think they do great work in the lo-fi indie/lo-fi folk realm and because they have an interesting business model. The label’s latest compilation Patchwork shows off 17 of their bands, giving a pretty good snapshot of what they’re doing. (Disclosure: I’m the manager of The Duke of Norfolk, who is signed to Mint 400.)

The lo-fi work doesn’t disappoint: Sink Tapes, Fairmont, and The Maravines all have compelling offerings near the beginning of the album. The Multi-Purpose Solution and The Mai 68s hold down the end of the record, making sure you didn’t forget about the indie-rock. The acoustic-based work is also exciting, as newcomer Murzik adds an attention-grabbing piano-and-voice entry. Dave Charles sings a chill song that references Star Wars and sounds like some sort of early Jason Mraz tune. Cropduster provides another standout, with a gravelly, creaking voice over an acoustic guitar until it explodes into a grungy sort of thing for a bit.

Cropduster’s rock isn’t an isolated thing: the label has developed some loud leanings. Shallows’ “Always” is aggressive, dissonant guitar rock that borders on post-hardcore; Tri-State’s tune is straight-up guitar rock; and Jack Skuller contributes some rockabilly with ’50s vocal leanings. Mint 400 has grown from a small label with a specific niche to a widely diverse roster of bands, and Patchwork shows off the best of all of them. Check it out at iTunes or Spotify.

DIY Ditty: Mint 400 and the digital record label

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In the new music landscape, traditional models are modifying, morphing and changing. The record label is one of those pieces that is stretching. Neil Sabatino, owner of Mint 400 Records and songwriter in the band Fairmont, was kind enough to give Independent Clauses a long interview about the pros and cons of digital labels. (Mint 400 is the label of The Duke of Norfolk, whom I manage.)

How did you start Mint 400 Records?
Mint 400 Records was originally a joke. I would use it as my fake label that I said Fairmont was on when we were in between labels. I didn’t really intend to start a record label at the time when I first came up with the name. Then as I started working with a digital distributor he had told me he was signing me up to digital distribution as a label because Fairmont had so many releases at the time, and it got us around a loop hole that allowed us to control the digital distro for every record we had ever put out.

At first I planned on only releasing my own band’s material. I finally asked the question to our digital distro, “Can we help our friends put out their records through our digital distro deal?” The answer was yes, and the rest is history.

How does a digital label like Mint 400 differ from a traditional record label? What do you offer bands?
Mint 400 basically is focused on keeping the bands out of debt, hence releasing very little physical content and being about 95% digital. Occasionally the label has put out physical records for a select band or two and has helped other bands who have pressed their own material to get physical distribution but because of the way that the industry has changed it doesn’t benefit small bands anymore to press anything. One of the things I wanted to do when I first started out was to be able to sign a band, bring them to my home studio and engineer and produce their record for free. Then I wanted to be able to use my art background to design their album art, web page, and other media.

In addition Mint 400 tries to help here and there with PR and tour dates. So basically without costing myself any money only my time, I was able to give a band that had nothing a pretty good start. That was in the early days and now that we have grown we also started working with Pirate Radio Promotions who were nice enough to give us a very indie friendly rate to promote our records to college radio and specialty radio.

This in addition to licensing deals set up specifically for Mint 400 Records artists have been the things we offer bands that a lot of other labels can’t offer. Through a lot of trial and error I have found the most cost effective ways to spend on a band’s release without breaking the bank for them or for myself. I honestly believe that through being on a label like mine, prolific, talented bands are given a chance to grow exponentially and with my help can elevate themselves to the point where they can continue on as a band for many years. For some I will be the stepping stone for them to get to the next step bigger label.

Why should bands get involved with a digital label? What would they benefit? What types of bands would benefit?
I think bands who are prolific are the bands who will benefit the most from a label like mine. A normal label wouldn’t dream of letting you release more then one thing a year because they like to be paid back before moving onto the next thing. Through Mint 400 because we try to handle everything in house we encourage bands to release as many things as possible and they reap the rewards by having that material available for licensing and for radio. For this reason we have a lot of amazing songwriters that have the ability to record their own material and this limits them only to how much material they can write in a year. The bands who won’t benefit from my label are the ones who think they are the next big thing, we don’t buy into any aspect of the major label or even major indie label way of doing things. I would say my label is the most punk rock label that releases almost no punk rock music.

Digital labels get maligned as not as good as traditional labels. What would you say the biggest misconception about digital labels is?
I have been in my current band for 13 years now and have released something in every year of our existence, some years we even did two releases. My concern has always been to hone my craft and release as many great records as possible. That is all I really care about and is what I want the artists on my label to care about. The point for me is I have been able to have my records heard by people for over a decade and most bands can’t say that. I want to offer that gift to like minded songwriters who know that their humble songs deserve to be heard.

We are willing to get involved with an artist even if they only have recorded in the bedroom and never done anything else. Amazing songwriting is our concern, and I feel at some point there will be a backlash against the bands who spend millions on records to sound like a perfect robotic auto tuned version of themselves. It will always come back to tremendous musicians who write tremendous songs. I would never hold it against an artist who wants to work the stable 9 to 5 job, have a family and a house but still write records. Just because an artist is stable and doesn’t want to tour and be away from his loved ones for months on end doesn’t mean his work holds any less merit then a major label act.

If someone wanted to start a digital label, what would it take? What goes into creating a digital label?
If someone was looking to just start a digital label I would say all that matters is you have bands that you believe in. For me it helps that I have a background in art which translates to the ability to be able to help bands with everything from videos to web & album design. The other things like producing and engineering records took a lot of hard work to get good at and if you are hoping to do what I do and produce and engineer your label’s releases then I suggest putting in ten plus years in an indie band where you learn from seasoned veterans.

It doesn’t hurt that being in a band you get to learn what kinds of things get you heard more, like radio campaigns, and which things are wastes of time and money. However I would never discourage someone who has drive from attempting to start a digital record label. The only thing that really matters is how good your ear is and will you know an amazing songwriter when you hear one? I pretty much started the label with no cash up front, I mean it did help though that I had already spent thousands on the Fairmont records that became the initial first batch of what Mint 400 released. For the entrepreneur, I would say get good at everything so you can do it in house and cheaply and then you are ready to start your own label. The distro, the radio, the licensing will all come later if you have quality bands.

I don’t want to misrepresent the label at all, so I will disclose that you are going to need to pretty much spend all of your extra cash for a very long time on things for the label. However if you are smart about it and don’t exceed your limitations, then you can pretty much spend what you make to keep upgrading the label. I would say the label has grown tenfold with respects to earnings over our 8-year history and we try to then grow that money by putting back into the label.

The Curse The Cross & The Crown / Mint 400’s Pet Sounds

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I was having lunch with a friend my age (mid-20s) a few weeks ago. He got a bachelor’s degree in music and now works as the music director at the church I go to. The topic veered toward orchestral music, which my friend lamented as dying. “I go to the symphony, and I’m the youngest person there by 30 years!” he said with frustration. And it’s true; composers aren’t the sexy, rebellious Liszts of old; hipsters don’t flock to traditional classical works. Still, there are people working in the idiom, and I don’t think we’ll sound the last playing of Mozart any time soon.

The Noise Revival’s Nathan Felix is the latest in this movement of young composers working to create full orchestral work, releasing his debut symphony The Curse The Cross & The Lion today. It is indeed a full symphony of almost a half-hour’s length. This isn’t pseudo-soundtrack music, although there are some moments reminiscent of good film scores. No, this is a consistent piece of music that takes full attention and full energy to enjoy. There are nuances. In some ways, I had to listen with a different set of ears than my usual “indie-pop” ones; there are different goals, different textures, different ways of being. There’s a heartbreaking oboe solo that stands out amid “V. Don’t Give It Up,” which is one of the most beautiful and powerful sections in the piece; that’s not going to happen in indie-pop all that often.

I’m not qualified to assess this symphony against other classical music, but I can say that it’s incredibly rewarding to listen to for those who don’t listen to a ton of classical music. If you’re into orchestral music, have an adventurous ear, or just like beautiful things, then The Curse The Cross & The Lion should be on your to-hear list.

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I idolized the Beach Boys instead of The Beatles growing up, so Pet Sounds is a monument in my musical development. Even as a teenager, I was able to grasp how incredibly difficult everything was on that album. So it’s fairly ambitious to cover the whole album in an indie-pop/indie-folk idiom, as the bands on Mint 400 Records set out to do. (That’s a direct download link, btw.)

The Duke of Norfolk (whom I manage) kicks off the album with a singer/songwriter-esque take on “Wouldn’t It Be Nice,” setting the mood for the rest of the album. The One & Nines conform their Motown soul bent into a passionate version of “I’m Waiting for the Day,” while Fairmont’s stand-out rendition of “God Only Knows” is probably very close to what Brian Wilson would have done in the power-pop idiom. A few of the tracks delve heavily into lo-fi arrangements and performances, so fans of that genre have plenty to love as well. It’s free, too! Enjoy Mint 400’s Pet Sounds.

Mint 400’s Christmas contributions are worthy

It’s not just XKCD that has noticed a lack of popular Christmas songs written and/or recorded after 1980. Shane Vidaurri of The Ashes noticed this as well, and pitched the idea of a Christmas compilation album to his record label, Mint 400 Records. Label owner Neil Sabatino (Fairmont) agreed, and now we have A Very Merry Christmas Compilation to bring cheer in.

The comp is excellent because everyone here turns in a stellar effort. None of the seven bands phone in it or get schmaltzy. These are honest-to-goodness Christmas tunes, worthy of being replayed on radio until no one remembers who the artist is anymore and no one cares. This would especially work because the comp doesn’t stick to one genre, but ranges from The Duke of Norfolk’s folky “Lovely Winter” to Fairmont’s jangly “This Song is Your Christmas Gift” to the ‘50s style rock ‘n ‘roll of The Ones and Nines’ “I’m Gonna Lasso Santa Claus.”

The lattermost is a perfect opening track to the compilation, as it sets a jubilant tone for the album. It’s like “Rockin’ Around the Christmas Tree,” and I love it. Adam N. Copeland apes the Killers’ tradition of putting out a soaring, modern pop tune for the holiday, with a tune that reaches to the same vocal heights as Brandon Flowers’.

There’s some melancholy as well: The Ashes’ “Have Yourself a Merry Little Christmas” can’t even staunch the somber elements of the tune with an almost island-flavored take on the tune. “Sorry I’m Broke” and “This Song Is Your Christmas Gift” are both about the stress of being poor at Christmas.

No compilation would be complete without a hymn or two: The Duke of Norfolk’s “Hark the Herald Angels Sing” brings banjo and beatboxing together for an overall reverent take on the classic. I know, that sounds weird; you’ll just have to check it out.

A Very Merry Christmas Compilation takes Christmas music seriously, and the results are some incredible originals and traditionals. Since it’s varied in genre, you can put it on the stereo and let the wildly varied emotions of the season wash over you. If you sprinkled the tunes into your current list of standards, they wouldn’t stand out at all; they’re that good.

Full disclosure: I worked on The Duke of Norfolk’s tracks as a set of critical ears.

The Cast Before the Break goes forward and backwards with Where We Are Now

I was in high school from 2002-2006, so one could make some educated guesses at what records defined those seminal years for me. (The Postal Service: Check. Transatlanticism: check. Deja Entendu by Brand New: check.) But Deep Elm: Too Young to Die stuck with me even more than those. The anti-suicide effort / sampler combo was my first introduction to the diverse (and often raucous) emo of Deep Elm Records. Those almost-all-now-obscure bands (Settlefish! The White Octave! Pop Unknown!) contributed strongly to altering my life trajectory from “whatever it was before” to “independent music.” I owe a lot to Deep Elm.

The Cast Before the Break showed up on Deep Elm in 2011, just after Independent Clauses switched its focus from punk/emo/hardcore to folk/indie-pop/indie-rock, so I didn’t catch them the first time. But wow, I am here for them the second time. Where We Are Now is a tour de force of post-00s emo; a record that capitalizes on the virtues of an iconic sound without being defined by them.

Led by the near-mythical three-guitar attack that many emo bands aspired to, Where We Are Now filters emo tendencies through a variety of concepts. The raw, pounding fury is there, such as on the Before Braille-esque charge of “Minutemen” and the howling “Seaward.” But beyond that, acoustic bits foreshadow lead singer TJ Foster’s later Deep Elm band Accents (…also “Seaward,” actually!). The 7-minute “Friends of Mine” features a Jimmy Eat World-esque late-song slow section amid a post-rock song structure. The Appleseed Cast would have been happy to write the patterned/mathy riffs and rhythms of “From a Pedestal.”

All of these impulses come together on standout “Slice of Life.” The song starts off as a delicate ballad, then builds from there into an atypical barn-burner by adding layer on top of layer of guitars and bass. Foster’s falsetto rides the waves of sound beautifully, then nails the landing with the evocative repeated phrase “waiting for your light to show.” Right at its peak, it crashes, closing with a beautiful thumb-piano/kalimba outro. It’s everything they wanted to achieve in the record, compressed into 3:55.

While not as triumphant in tone, closer “Hindsight” is a fitting cap on a record that took 10 years to complete. The piece rolls through acoustic-driven sections and pounding rock sections, never letting the listener’s attention drop. Kicked off by a truly rousing shout, the last 1:30 is a masterpiece of emo songwriting, regardless of era. The lyrics are fittingly expansive and pensive: “I thought I knew it all / who really does?” This is the sort of piece that goes beyond the titles and stereotypes of genres to be an outstanding song, regardless of your priors.

Where We Are Now is a big, ambitious, successful record. The quintet’s songwriting is top-notch, the performances are evocative, and the collection works together as a whole excellently. If you’ve ever been a fan of Deep Elm, from Red Animal War to Athletics to Montear, you need to check this record out. It’s a time machine that goes into the past and into the future. Where We Are Now is out on Mint 400 Records, another label close to my (and IC’s) heart.

Quick Hits: Underlined Passages / Supersmall / 100 Watt Horse

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Underlined Passages‘ The Fantastic Quest is a grower: an album that doesn’t hit you with the same force the first time as it does the second, third or fourth time. In our attention-deficit culture, there’s not as much love for growers as there used to be, so I’m proud to be giving a shout-out to Underlined Passages’ second record on Mint 400 Records. (Full disclosure: I told Michael Nestor of Underlined Passages about Mint 400 Records.)

Instead of traversing the boundary between emo and dream pop as in their previous work, Quest falls firmly in the indie rock camp, anchored by ever-present guitars, firm drumming, and evocative vocal melodies. Tunes like “Everyone Was There” have an up-tempo approach that recall Jimmy Eat World more than American Football, with the guitars churning away (without getting too gritty). Other tunes like “Arabesque” set the guitars against the bass and drums in a tension–the production emphasizes the drumming without pushing it too far up in the mix. This choice gives the album a tight, cohesive feel.

The vocals are one of the main parts of the growing–at first Nestor’s vocal lines seem to blend in too well with the instruments, but subsequent listens adjusted my ear to the arrangement and started to draw me in to his unadorned, non-ostentatious vocal style. I found myself humming the vocal melodies after the second and third listen.

The Fantastic Quest is an unfussy, unpretentious album that reveals layers of careful thought over multiple listens. From the songwriting to the performances to the production, the work has charms for those who listen closely. Take some time with Underlined Passages; don’t be surprised if they win you over.

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Supersmall‘s Silent Moon has a distinctly British feel, despite being a NYC-based duo. (Vocalist/songwriter Colin Dempsey is Irish, but that’s not the same.) It might be the formal pop angles on the songwriting, or perhaps the confident dignity with which the vocals are delivered. Maybe it’s the ability to convey emotion without getting maudlin.

Whatever it is, Supersmall know how to write walking-speed, acoustic-led tunes that wouldn’t feel out of place in a charming/quirky indie film. The duo leads off with “A Better Life,” which features perky strumming, joyous trumpets, peppy drumming, and a distant organ for color. If Beirut stripped out its world music aspirations, this sprightly work might be what resulted.

The tune is a fine primer for the release, which includes the Nick Drake-ian guitar vibe and beautiful vocal melodies of “Silent Moon” and “Siren,” the major-key folk of “Riot,” and the country-esque “Home.” There are some more serious tunes, but Supersmall is at their best when they’re creating major-key work with an eye toward thoughtful arrangements and careful pop elements. Silent Moon is where elegant meets excitable with an acoustic guitar in its hand–in other words, it’s worth the time of a wide swath of music listeners, from indie-pop lovers to hardcore acoustic fans.

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100 Watt Horse’s It May Very Well Do is an experimental folk/indie-pop release: it’s one fifteen-minute track with interludes connecting various sections that are distinct enough to elsewhere be called songs. The duo incorporate tape hiss, nature sounds, acoustic guitars, distant synths, modulated vocals, static, and more into their inventive, attractive amalgam.

The opening salvo features precise, measured guitar work and a dreamy female vocal line before unfolding into the sounds of a swamp as a transition to a hazy indie-pop section. A woozy guitar line is matched by a leisurely male/female duet and balanced by a steadfast drumbeat and bass line. It all feels very open, raw, and natural–even when it transitions into a power-pop tune a la The Cars. I could go on explaining the release, but that should be enough to hook your interest and not spoil all the surprises (we’re about a third through the release at this point).

Suffice it to say, 100 Watt Horse has a lot of ideas, the talent to pull them off, and the skill to arrange it all into one impressive sitting. If you’re up for clever, intricate, thoughtful work from people pushing their own boundaries (and maybe yours), check this one out.–Stephen Carradini

Underlined Passages: Rainy Day Indie-rock

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While Underlined Passages’ self-titled release is a debut, my roots with the band go back deeper. The two principal band members were formerly in The Seldon Plan, a Baltimore indie-rock band that I started reviewing in 2006. After some time off, Michael Nestor and Frank Corl have regrouped as Underlined Passages. Their debut release is on Mint 400 Records (a connection I helped make), and their rainy-day indie-rock fits perfectly with other M400 bands like the Maravines and the Sink Tapes.

The nine songs of Underlined Passages sport various amounts of energy, but each have some sense of melancholy about them. Even when the drums are thrashing away and the guitars are chiming wildly on “Magic, Logic, Life,” Nestor’s vocals are bereft of aggression. The guitar arpeggios and slow pace of “It’s Ok” are more stereotypically melancholy, with emotively-driven lyrics, mournful melodies, and a warm sense of nostalgia/affection. There’s a lot of emotion in these songs, but it never goes over-the-top; like so much on this album, it just fits.

Considering the emotive push, Underlined Passages could definitely hang with the emo revival bands: the one-two punch of opener “Perspective” and “Every Night” are right there with Football, Etc. in aesthetic similarity. But for the most part, Underlined Passages doesn’t have the brash, punchy aspect that many emo bands inherit from their punk roots. These are earnest, passionate, mid-tempo songs for grey days. You don’t have to look farther than the swirling “Sonata” and the intimate “Like 2009” to get where Nestor and Corl are coming from.

Underlined Passages is an excellent companion on a rainy day. The melancholy arrangements, the hooky melodies, and nostalgic overall mood invite you to curl up under a blanket and watch the rain come down. If you’re looking for some moody, earnest indie-rock today, look no farther.

Fairmont’s tweaks to their indie-rock sound pay off

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Fairmont has gone through a variety of permutations over the past decade: melodic indie-rock, theatrical pop-rock, folky indie-pop, and bitter rock’n’roll. With 8 1/2, they’ve returned to their roots as a melodic indie-rock band with a cynical cast to the lyrics. But when you come home after a decade, things are different no matter what. In Fairmont’s case, the lessons of seven and a half previous albums (hence the name) have honed their songwriting skills and arrangement aesthetics.

Where Fairmont was once a three-piece that got by on exactly three instruments, they’ve expanded comfortably into their current quartet lineup with a variety of support instruments. Female vocals, marimba, keys, synths, and other miscellaneous sounds fill out the songs here, giving songs like “Love & War,” “Don’t Wait Up,” and “The Connection” unique vibes. The first of those three benefits from the interplay of all those extra sounds in an upbeat indie-rock tune with a mid-song slow section (familiar territory for Fairmont).

“Don’t Wait Up” is a moodier tune that captures the nuance that Fairmont has earned over a decade of songwriting. Neil Sabatino’s voice, usually brash and nasal in Violent Femmes style, is tuned to sweeter sounds here. The female background vocals and glockenspiel melody temper some of the brittle edges on Fairmont’s sound, and the tune becomes a highlight.

Sabatino nuancing his vocals isn’t the only new element in the sung category: “The Connection” is the first Fairmont song ever to feature female lead vocals, making it a standout. The rainy-day vibes of “Gone” are largely sold by the descending keys, fitting drums, and guest vocals from IC faves The Maravines.

The tweaks that Fairmont made on 8 1/2 result in a more comfortable, relaxed version of the band. Sure, they’ve still got jittery, anxious energy (“Love & War”), but it’s set in the service of different goals here. If you’re into melodic indie-rock with strong melodies and textured arrangements, you’ll be into 8 1/2. The album drops on 3/3.

*Neil Sabatino of Fairmont owns Mint 400 Records, which is the record label of The Duke of Norfolk, whom I manage.

News and stuff and October

So here’s the news!

Classic-rock new kids Greylag, who have a single that you should listen to, put together a Spotify playlist of songs that influence them. The concept in itself is pretty cool, but their list is even cooler: aside from obvious influences Led Zeppelin and Pink Floyd, they’ve got Sonic Youth, Cocteau Twins and Kurt Vile. Get hip, y’all.

Singer/songwriter Stephen Kellogg is doing a PledgeMusic campaign to fund a four-album cycle based on the four cardinal directions. I’m all for ambitious projects and crowdfunding, so go jump on it.

Nate Allen (of exuberant acoustic-punk outfit Destroy Nate Allen!) has a solo project coming out that also is looking for some crowdfunding. Allen’s campaign is for dat vinyl.

The diverse Mint 400 Records, home of the band I manage, just released a free tribute to Lou Reed. You can download the short EP by clicking on this link.

A deluxe edition of Songs: Ohia’s Didn’t It Rain is getting a Nov. 11 release from Secretly Canadian. As a fan of Jason Molina’s work, this is exciting to me. Even more exciting is the new song released in celebration of the event, “Ring the Bell – Working Title: Depression No. 42.”

Here’s to you, Mr. Molina.

Quick Hits: Justin Klaas / The Maravines / Clara Engel

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It’s always a joy when a band from IC’s history reappears with new music. I first reviewed Justin Klaas‘ work in 2006, and 8 years later I’m writing about more music from him. What Changed? is a thoughtful, atmospheric album that challenges the boundaries between indie-rock and indie-pop. Klaas’ voice calls up comparisons to the howl of The Walkmen’s Hamilton Leithauser, which brings passion to the work no matter what the genre.

Instead of fighting for balance between loud and soft, Klaas holds the album together with those dueling ends of his sound. The yearning “Sunlight or Moonlight?” allows tension to manifest in the arrangement, giving the reins to the vocals to complete the mood. The walking-speed indie-pop songwriting of “Wait Here” lets the vocals take the forefront, giving a different feel to the song. The delicate instrumental “Moonlight” casts a Bon Iver-esque tranquility over the record, calming the tension momentarily. The whole album holds together beautifully, drawing on imagery of evening as a guide for the listener. What Changed? is a short film shot in the dusky woods, perhaps, or maybe a night spent on the street corner under the streetlight. If you’re into low-key, personal indie-rock, you should check out Justin Klaas’ work.

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I’m not sure there’s a better way to start an album of jangly guitar-pop than with a song called “The Smiths.” You should thank The Maravines for figuring this out on their self-titled record. It’s not just jangle-pop here; the sound also draws on both the lush melancholy and occasionally the rough aggression (“I Say Go”) of early ’00s emo. Still, the primary mood throughout the album is a leisurely stroll through reverb-heavy indie-pop.

The album is purposefully cohesive; the band posted the whole release as a YouTube video so listeners could experience it as a free-flowing unit. If you’re pressed for time though, you can start at “Train Ride” (20:09) and let the dreamy feel both lull you into serenity and sell you on the album. Mint 400 Records seems to be specializing in acoustic-folk and guitar-based indie-pop albums as of late, and The Maravines are a worthy inclusion in the latter camp.

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I’ve mentioned before how “The Lioness” by Songs:Ohia is one of my enduring favorites. Its raw, minimalist power is simply unimpeachable. Many have tried to appropriate that barely-contained energy, but it’s hard to emulate Jason Molina. Clara EngelsAshes & Tangerines has moments that take on that hushed intensity–but in contrast to Molina, she often explodes these moments into their full potential for wrenching, dramatic conclusions.

The album is minimalist, but by no means ignorable. “Raven” begins the album with a simple plodding bass guitar strum and furious vocal performance, letting you know exactly what type of album this will be from moment one. “Heaven and Hell” introduces a delicate, forlorn piano line before opening up her voice to its full dramatic potential. The palm-muted guitar and rumbling toms of “X-Ray” go in an ominous lyrical and tonal direction, as opposed to a sad one. That’s the biggest marker of Engels’ sound: she has a lot of ominous (“Harvest”), eerie (“Decomposition”), even menacing (“X-Ray”) work on Ashes & Tangerines. By setting that tone, Engels puts herself outside the category of casual listening: this demands focus and attention. If that’s what you’re looking for in a musical experience, Clara Engels will give you a fascinating listen.

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