Old habits die hard: I’m honored to premiere an indie-pop track from More than Skies today.
The ever-changing, genre-morphing outfit More than Skies now appears with a ’50s-pop homage, complete with hammering piano, female backup vocals, and thump-da-dump-da-dump bass line. Some homage feels too much like a copy, but the unique (creaky, nasally, enthusiastic, intriguing) vocals of Adam Tomlinson add a nice flair to the track. There’s a bit of country in the guitar twang too, lending a bit of wistfulness to the chipper tune. The black and white images of the performance video add to the throwback vibe too. Overall, a fun song that has more sonic depth than a standard retro-’50s work.
Michael Flynn (the Slow Runner one, not the other one) is allowing us to premiere a new video for “Get Old.” I say allowing because I love this video and feel genuinely honored to be the person who gets to premiere it. The song checks a ton of boxes for me: 1. It’s a piano-heavy ballad (check) 2. It’s got great melodies (check) 3. The lyrics are excellent, from a point of view not often heard (check) 4. It’s about parenthood but not in a pacifiers-and-LEGOs way (check) 5. Flynn’s vocal performance is excellent (check).
And then the video. Oh, the video.
When I showed up at work the first day I saw this, I did not expect to spend seven minutes crying at my desk, but that’s what happened. This video demonstrates everything good and right and lovely about family and parenting. It’s beautiful and heartbreaking all at once–on the one hand, this is a big visual list of happy moments of a family and that is to be celebrated. On the other, there are always hard things that don’t get in the videos (I know that as a parent myself). Even deeper than that, there are things in all our pasts and families that hurt us deeply–seeing a montage like this makes me well up with sadness in remembering those things. But then I also well up with happiness, thinking of the good times.
And then the end of the video transitions to Flynn’s daughter, and I lost it. I’d just gone through a catalog of the good and the bad in my own personal history and then, then I had to think, “Oh no, I have a child that looks that tiny and small and I have part of the responsibility of doing the best I can to make sure that someday there are more good things than bad things when my child thinks back on his family.” And right as I was suffering this deep parental existential fear, the lyrics returned and reminded me that Flynn is celebrating this. This is good. This can be good. This will be good.
So if you want all that to happen to you, you can check this out. In other words, the video is really good. Really, really good.
Throwing down two albums in two years is no small feat. With Where the Wildest Spirits Fly, The Pinkerton Raid manages to drop a new record only 15 months after their previous effort Tolerance Ends, Love Begins. Where Tolerance Ends was a dense, dusky affair that analyzed a divorce in great detail, Wildest is heading in a different direction entirely, both lyrically and sonically.
“Jefferson Davis Highway” is the lead single off Wildest and it turns its focus directly on those who still celebrate the Confederacy. It’s a delicate, touchy subject nationally and in the South. But being from North Carolina (where the topic goes on and on), Jesse James DeConto jumps into the fray with no holds barred–his lyrical efforts leave little room for confusion about what this protest song is protesting.
Amid the lyrics protesting the continued support for Confederate history and ideals, DeConto mentions “We’re singing in God’s own country,” which is an interesting (intended or unintended) connection to U2’s The Joshua Tree. The music here is much more acoustic-oriented than previous work from TPR, but it’s still not quite Woody Guthrie’s folk. The connections are stronger to the expansive, vaulted work that U2 created on their seminal album, and not just because DeConto’s soaring, occasionally-yelping voice is reminiscent of Bono’s. The whole arrangement of the track is one that evokes gravitas without being overly somber. A marching band appears at the end of the track, lending even more grandeur.
It’s a big, bold, gutsy move to introduce an album with these lyrics and this arrangement. It’s a strong offering if you’re into protest music, U2, or folk music (writ large).
Where the Wildest Spirits Fly, which is the band’s fourth full length, will be released on Tuesday, May 1. You can pre-order it at Bandcamp. Catch the band in and around the Carolinas soon:
Saturday, April 28 – Brewgaloo – Raleigh, NC
Thursday, May 3 – North Charleston Arts Festival – North Charleston, SC
Friday, May 4 – Petra’s – Charlotte, NC
Saturday, May 5 – Cat’s Cradle (record release show) – Carrboro, NC
Big Little Lions‘ “Do Better” clip is a beautiful time-lapse of a road trip through the mountains of British Columbia. The easy-going, open-hearted, aspirational bent of the folk-pop tune that accompanies the video matches perfectly with the visuals of open sky, soaring mountains, and endless forests. I love a good video of beautiful scenery, and this one hits the spot.
The song itself is a lovely folk-pop song. Lyrically, it’s a plea for us to “do better”–be more compassionate, less judgmental, and more aware of beauty all around. Sonically, it’s got gently rumbling bass and percussion, cheery handclaps, subtle accordion and piano, and suitably big melodies.
If you’re looking for a pick-me-up on a tough week/month/year/etc., this track has a lot to offer. If you crossed the Lumineers with the Low Anthem, you might end up with something like this tune. Definitely a winner.
“Do Better” comes from Alive and Well, which came out February 23 on Far Flung. You can catch Big Little Lions on Facebook, Twitter, Instagram, YouTube, and Spotify. They’re going on tour starting tomorrow, so if you’re on the East side of the country you can see them in action very soon:
4/11/2018 – Nashville, TN / Tin Roof Broadway 4/13/2018 – Roswell, GA / The BZC (info) 4/14/2018 – Birmingham, AL / The Shed Series house concert (info and info) 4/15/2018 – Orlando, FL / house concert 4/18/2018 – Palm Harbor, FL / house concert (info) 4/19/2018 – St. Petersburg, FL / house concert (info) 4/20/2018 – St. Petersburg, FL / Listening Room Festival, Palladium Theatre (info and tickets) 4/21/2018 – St. Petersburg, FL / house concert (info) 4/22/2018 – Gulfport, FL / house concert (info) 4/24/2018 – Nashville, TN / The Local 4/25/2018 – Mills River, NC / house concert (info) 4/27/2018 – Springboro, OH / house concert (for more info, email firstname.lastname@example.org) 4/28/2018 – Cincinnati, OH / house concert (for more info, email email@example.com)
Stephen Babcock’s “Atlanta” is for anyone who listens hard to hear if there’s an organ in the background of a song. (You won’t have to scrunch your ears to find the keys in this one: it fades in at the one-minute-mark.) The organ performance, with all its screamin’ soul, is the heart of this folk/Americana tune.
There’s also charming pedal steel, punchy drums, and chipper guitar strum that try to steal my attention–and that bouncy acoustic guitar almost does it. But it’s the organ that really gets me in this one. It’s not even the most prominent element of the song (that would be the pedal steel or the drums) but it gives the song so much flavor.
Babcock’s tenor voice is also great–he’s got an off-the-cuff, easygoing approach to his vocal performance. He seems to be effortlessly gliding through his arrangement, like he’s singing as he walks past a band gettin’ after it on the street corner. (The below album art helps with this imagined scene.) The light swagger of the melody only adds to the freewheeling vibe. This track is a ray of Americana sunshine. If you’re a fan of Josh Ritter’s major key work (“Lark” comes to mind), Langhorne Slim, or old-school Dawes (“When My Time Comes” forever, y’all), you’ll connect with this one immediately.
“Atlanta” comes from Fiction, which drops April 6. Fiction was produced by Cody Rahn and Stephen Babcock at Seaside Lounge Recording Studio in Brooklyn, mixed/recorded by Mor Mezrich, and mastered by Kevin Salem (Rachel Yamagata, Yo La Tengo, Zee Avi, Peter Paul and Mary, Lenka).
You can checkout Babcock on a Sofar Sounds tour if you’re near the East Coast. (I’m sad to miss the Raleigh date–I miss you, North Carolina!)
4/7- Rockwood Music Hall, Stage Two – New York, NY – 9PM
4/12- Sofar Sounds DC – Washington DC – 8PM
4/13- Sofar Sounds Charlotte – Charlotte, NC – 8PM
4/14- Sofar Sounds Raleigh – Raleigh, NC – 8PM
4/15- Sofar Sounds Charleston – Charleston, SC – 8PM
4/20- Sofar Sounds New York – New York, NY – 8PM
Michelle Mandico‘s “Ptarmigan” is a testament to the elegance of simplicity, from the melody to the arrangement to the lyrics. The delicate, spacious folk song features Mandico’s pure and clear voice delivering a compellingly unadorned melody. Mandico doesn’t go for tricks or quirks; instead, she delivers with confidence a vocal performance that perfectly meshes with the guitar line.
That melancholy fingerpicked guitar line comprises a large chunk of the arrangement, as Mandico keeps the instruments to a minimum. An emotional fiddle enters a third of the way through the song, occasional acoustic guitar overdubs appear–and that’s the whole setup for the track. The power of the song comes not from its complexity, but from how well everything comes together into a full work.
The lyrics focus on stripped-down simplicity as well, although that simplicity isn’t always for the best; the simple statement of “and it’s funny how we need no words / when silence carries” is less optimistic when paired with the refrain of “I’m alone again.” But the refrain also includes “I’m a ptarmigan / in my mountain home”–being at home is good, but the home of the ptarmigan is very cold (the ptarmigan is the official bird of Canadian province Nunavut, otherwise known as the farthest northern part of Canada). So there’s complexity in the simplicity, too. Mandico’s tune is impressive, and establishes her as a newcomer to watch.
The video is a collage of clips culled from 1000 hours of tour video. That herculean effort on the part of filmmaker Annie McCain Engman results in an impressionistic piece that evokes both the speed of moving cars and the warm brightness of Bass’ music. There’s a lot crammed in the video, and it works best as the whole it was intended to be (instead of me trying to explain it too much). If you’re thinking, “Ugh, collage, I hate collage, anyone can collage,” know that I’m with you. This one caught my attention anyway due to the deft handling of the work by Engman. Anyone can collage, but pros can collage better.
The tune that the video accompanies is a chipper tune that splits the difference between indie-pop (those handclaps! the keys riff!) and adult alternative (the smooth arrangement! the soaring vocals!) without being self-consciously part of either genre. Fans of old-school Death Cab for Cutie and fans of Sam Smith will each find things to love in this tune, and the marrying of those disparate groups (or are they disparate? I’d like to believe they aren’t) is a great credit to Bass.
The Greatest Fire releases on January 19 via Jungle Strut Music. (Now there’s an evocative label name.)
Hauck’s solo oeuvre is tied to intimate, gentle music, and this one is no disappointment on that front. Over a burbling, swift fingerpicking pattern, Hauck’s distinctive tenor delivers a calm, reassuring vocal line. A stolid, sturdy piano gives some heft to the tune, and high harmony vocals give the tune an airy quality.
It’s an excellent song, evoking a cross between Nick Drake’s effortless weightlessness and José González’s dusky work. Fans of modern folk should be very excited for this song and the subsequent pay-what-you-want EP. Highly recommended.
Yellow Feather‘s “Lucille” video is a warm, goofy, good-natured clip that features the wanderings of band leader Hunter Begley in a cardboard bird outfit, a gold (yellow?) feather necklace, and underwear. (Okay, also socks/shoes.) He makes his way out of a forest, over a bridge, into a derelict barn, through an outdoor market, and finally on top of a boxcar. There’s also a kicker at the end that gives some hint as to what’s actually going on in the clip, but I’ll let you discover that yourself.
The song itself is almost as good-natured as the clip itself; it’s a gently honky-tonkin’, loping Americana tune a la Old Crow Medicine Show. The bouncy arrangement contrasts with the wry, regretful lyrics, displaying the remorse that comes of realizing (and re-realizing, and re-realizing) you weren’t the good one in the relationship.
The vocal delivery from Begley is perfect: there’s a touch of the shame he’s singing about around the edges of the lines, but also enough buoyancy to keep up with the major key arrangement. It’s a great song to go along with a great video.
“Lucille” is the lead single from And Gold, which drops tomorrow, December 1.
Two Sets of Eyes‘ self-titled debut EP is a mind-bending release that manages to seamlessly mesh moments of wildly inventive, almost avant-garde weirdness into songs that were already clever, intricate indie-rock pieces. From the bold-move instrumental opener to the ten-minute closer extravaganza, Two Sets of Eyes doesn’t cover the same patch of earth twice.
Opener “Sunshine, You’re Standing in My Sunlight” opens with a fuzzed-out arpeggiator and a hip-hop kit beat before morphing into a vaguely dystopian mood with the addition of melodies from what sounds like a heavily manipulated guitar or keyboard. The sci-fi intensity ratchets up with the addition of various synth layers, creating something that sounds like Muse on its best day or instrumental hip-hoppers Jaw Gems scoring a Mad Max film. The track consistently throws curveballs at the listener, providing an exciting standalone experience and a clue as to the mayhem that is to come.
Lead single “For the Last Time” zips in a different direction, fusing early ’00s emo (a la Promise Ring), smooth jazz saxophone, and quirky indie-pop vocals with some beachy vibes and sleigh bells for spice. Yet (as with the opening track) the song sounds internally consistent–at no point does a switch in sonics lose me as a listener. Those with wide sonic interests will love the diversity between tracks, too.
And that diversity gets even wider with “Cash Me Out (ft. Bardo)” — even though this one’s the most straightforward of the tracks (ha!), it’s a woozy, complex R&B backdrop with Bardo’s smooth, even flow over it. The trio can’t resist going from moderately chill to intense even within the confines of an R&B banger, though: the culmination of the track is a spiraling, thrashy punk-jazz blast.
“No Simple Words” continues the intensity by starting off with a post-punk/post-hardcore guitar line, but throws some cooing melismas on top of it to make it weird. The track bends expectations (even those expectations of chaos set up earlier in the EP) with glee. But all of this is just prologue to the monster ten-minute closer “Waiting/Reacting,” which is one of those songs that makes me think, “How do they remember all of these parts in order?” The tune combines many of the aforementioned references in the EP (post-hardcore, emo, indie-pop vocals, dystopian space rock, synth mania, as well as impressive bass work) into a marathon of creativity.
Two Sets of Eyes’ debut EP has enough inventive ideas to fill an album two or three times its length. The fact that they wind them tightly into five songs is a win for the listener, who is treated to a ton of things blasting out of the speakers at breakneck pace. Adventurous listeners should be thrilled to hear such a fascinating new entry into the indie rock world. Highly recommended.