Last updated on May 12, 2019
The acoustic indie-pop of Living Decent‘s Do What Makes You Brave EP shows a different side of the band, which released their self-titled pop-punk EP in July 2015. Brave relies on the singer/songwriter background of Vic Alvarez, featuring his voice against an acoustic guitar and minimal arrangement around that. The minimalism ranges from nothing but voice and guitar in “Minus 10” to the bass and tambourine of the perky (but still not pop-punk perky) “Crystal Palace” and the crescendoing drums and bass of “Moving the Sun.” The four songs here each maintain a balance between punchy and melancholy–it’s unsurprising that they list “emo” as one of their tags. They could tour with Football, Etc. as part of the emo revival, making music that draws off emo’s forefather influences but sounds modern and relateable.
The standout is closer “I Could Not Be Here,” the most realized of the tunes here: Alvarez’s breathy, earnest tenor is surrounded by warm keys and gentle percussion to create a tune that almost sounds like a Plans-era Death Cab for Cutie song. Living Decent has songwriting chops that they’ve now showed off in two different realms very quickly. They’re an exciting outfit to watch for in 2016.
Distant Cousins’ self-titled EP finds a way to triangulate contemplative folk, folk-pop, and Imagine Dragons-style radio pop in a fun, catchy product. Opener “Taste of Tomorrow” combines all three of their elements in an enthusiastic, sax-blasted tune that reminds me of Magic Giant’s work. “Your Story” is a straight-up-and-down folk pop tune that ropes in female vocalist Jessie Payo for the back-and-forth elements. Closer “For a Moment” is a pristine folk tune buoyed by multiple-part harmonies that sticks out for its beauty. The rest of the tracks on the six-song EP turn up the pop volume and get fun–if you’re into that style of music, Distant Cousins are right on that wavelength. Their debut EP shows off that they can write a snappy tune, and there are flashes of beauty in there too. I’m interested to see where they go next.
The four songs of Marc Maynon‘s Watch Pot have thoroughly ingested British Invasion songcraft but don’t just spit that back out. Instead, Maynon’s songwriting has a bit of a power-pop cast to it at times (“Something to Live For”) and a piano-pop flair at other times (“Sensation,” “Vintage Lens”). Maynon’s high-pitched tenor is deployed nicely throughout the EP; in “Sensation” and “Vintage Lens” his vocals pair especially well with the bright piano tone. Even though he has solid pop bonafides, this isn’t all upbeat major-key work; Maynon has a solid control of mid-tempo and minor-key work. Add in the thoughtful arrangement touches throughout, from strings to synths to trumpet, and you’ve got a solid EP of pop songwriting. Watch Pot is a good slice of sound for fans of formal pop songwriting.
Sundaug‘s Nocturnality is a full album of instrumental compositions that primarily revolve around a fingerpicked acoustic guitar. Each of the 14 tracks is remarkably relaxing, from the gently grooving opener “Pyramid” to the moody closer “Chasing Angels.” The album is strongly cohesive, and you can listen to the album as one long tune if you wish. (It’s particularly good for setting on in an afternoon where you don’t have much to do and just want to chill–I can vouch). Some highlights that stick out (but only ever so slightly–it’s all really good) are “When Solitude Becomes Isolation,” a cascading tune that sounds more contemplative and positive than the title suggests, and “The Submersion,” which pairs pad synths with interesting guitar runs. (Some might not be thrilled with the occasional overture toward new age music, but I don’t think it diminishes the overall impact of the release.) If you’re interested in relaxing guitar-centric music, you should check out Sundaug’s Nocturnality.