Last updated on May 6, 2019
Indie Pop and Indie Rock
1. “Schopenhauer in Berlin” – Emperor X. Those who are into singers who cram too many words and so many references into a song and yet somehow come out with indie-pop gold (read The Mountain Goats, the Weakerthans, the Rural Alberta Advantage) will find a huge amount to love in Emperor X. This track is fidgety, subtly chaotic, weirdly emotional, and overall a wild trip that has me absolutely stoked for this record.
2. “Wake Up with the Sun” – Little Lapin. A chipper, summery little ditty that calls to mind Lilith Fair, Counting Crows, and other cheery ’90s acoustic pop. I couldn’t help but clap along. Totally fun.
3. “Hey Leanne” – Frozen Houses. The reverb and rhythms of the guitar recall the ’80s, and specifically Graceland. The flute-esque pad synths are vintage too, but they’ve been so appropriated by Vampire Weekend that there’s a touch of them in here too. But it’s a less hectic song than both of those outfits are fond of, as the lead singer uses a gentle, calming voice to sing long, smooth vocal lines.
4. “Bones” – Fairmont. The kickoff to their 9th (!) studio album, this indignant blast of sound distills what Fairmont does best into 4 minutes and 10 seconds: melodic-yet-somewhat-sinister guitar-driven indie rock with roughed-up vocals and an eye toward the theatrical.
5. “Dynamite Quartz” – Bass Lions. It’s not often that a song puts me at a loss, but this track is a blend of a lot of things that don’t usually go together and yet somehow work perfectly: traditional pipe organ playing, a harpsichord-esque / autoharp thing, ominous subterranean bass notes, strings, perky percussion, and expressive Arcade Fire-style vocals. Or maybe they just feel like Arcade Fire because there’s so much going on. Either way, this is a veritable maelstrom of stuff, and somehow it turns out into a snappy, inventive indie rock tune.
6. “First of May” – James Irwin. Heavily reverbed, distant guitars create a ghostly presence over a fuzzed-out bass chug while Irwin’s feathery vocals intersect the two. The results are a dreamy form of indie rock that is actually equal parts dreamy and rocking.
7. “Screen Time” – Banana Gun. Funk is not my usual stomping grounds, but Banana Gun fuse funky bass lines and a jazz-infused horn section with slick, tight rock music a la Cage the Elephant, et al. (which isn’t usually my province either). Sometimes a song comes out of nowhere and just gets everything right, and even people not in the genre can hear it.
8. “R.O.S.E.” – Brother O’ Brother. Imagine if the Black Keys had never gone stadium rock and instead got more and more furious in their vocal delivery. That’s basically what BOB is, give or take a Marshall stack or three. This track is a pretty great intro to their raw, super-charged garage blues on 11.
9. “Fruitfly” – Heavy Heart. This is a pitch-perfect ’90s female-fronted modern rock tune, which means that it’s low-slung, catchy, and nearly deadpan in its vocal and instrumental delivery. The video is a mishmash of drugs, junk food, pizza, kids, and static that also perfectly recalls the ’90s. It’s the sort of video that has to be done perfectly to not be derivative, and Heavy Heart pulls it off.
10. “Gentle Release” – New Tongues. It’s hard to keep me interested in post-hardcore these days, as I’ve gotten pickier and pickier with the heavy music I listen to. New Tongues are one outfit that I can count on to mix melodic elements, brittle distortion, brute force, hollered/screamed vocals, and long run times in intriguing ways. This latest track is spot-on: a 7.5-minute journey through different dynamic levels and arrangements that yet never feels like it’s overstayed its welcome. Anyone who can write almost eight minutes of post-hardcore work without getting repetitious is doing a great job. Mad props.
11. “Mississippi, Come and Take Me” – Syntax Club. Somewhere between the enthusiasm of Ra Ra Riot, the dreamy vocals of Death Cab for Cutie, and the beachy sound of The Drums is this charmingly layered indie pop song.
12. “STRESS” – Kylie Odetta. Odetta has been reinventing herself over the past few years and seems to have landed on jazzy, piano-led soul. This latest cut mines that vein with some breathy sax playing counterpoint to her hiccuping piano line and lithe vocals.
13. “Eclipsed” – Diamond Thug. This impressive electro song rides on an intriguing arpeggiator pattern and a smooth, flowing, head-bobbing mood (even though the arrangement gets pretty complex!).
14. “Where the Birds Nest” – Alex Tiuniaev. Tiunieav expands his stark solo piano oeuvre into a dreamy ambient electro/chillwave space with some snappy, beat-heavy plunks and blips. It’s a head-bobber, for sure.