Young Legs‘ Promise of Winter starts off in summer with the uber-perky “Resolution” but travels through the seasons to the depth of winter by the close of the album. During the journey, Steven Donahue shows off deft control of mood and impeccable melodic skill. These tunes circle the central node of Donahue’s confident, breathy voice: whether it’s employed in a frantic, minor-key indie-rock tune [“Ring of Salt (Youth Culture Dummy Version)”], a major-key jangle-rock tune (“The Apple Stem”), a banjo-led folk tune (“Book of the Lethe”) or a complex a capella venture (“Northfield”), Donahue’s voice shines. (Wiry, quirky, zooming synthesizers appear in several well-chosen spots, giving this a friendly, unusual texture.)
Even though there are a wide variety of styles here, the core of the album is composed of Donahue’s voice and a guitar. “Goodbye, John Ryle,” “Round the Root,” and “Seasons of Giving” fall firmly within the folk camps, ranging from Nick Drake-ian lightness (“Round the Root”) to Songs: Ohia gloominess (particularly as you go farther into the album). The melodies throughout each style are compelling, showing that Donahue isn’t a one-trick pony. From whispery folk to brash indie-rock, the songwriting here never falters. It’s a charming release, through and through. Anyone who’s into acoustic-led indie music will have a field day with Promise of Winter.
Battle Ave.‘s Year of Nod is the opposite of Young Legs’ wide-ranging genre fiesta: instead, it’s a laser-focused exploration of a particular sonic space. Jesse Alexander and co. have made an album that explores the whispery, sleepy, eerie spaces in-between dusk and dark, or between dark and dawn. This is the sort of thing that the phrase indie rock was built for: it’s got the underlying assumptions of rock, but it’s not taking them in a stereotypically riff-bound, v/c/v structure. Alexander’s weary, wailing voice fits perfectly with these tunes, from the perky “Summer Spear” to the intimate, quiet “Helen (This Isn’t Meant to Offend).”
Everything in between those sonic poles (“Zoa,” “In Evil Hour,” “Say Say Oh Enemy”) plays with the tension between hissing found sound, misty ambient noises, and traditional indie-rock vibes–the 7-minute “Zoa” includes both an upbeat clapping section and an arhythmic melancholy interlude that is best characterized by Alexander’s wordless sighs and vocal noises. Battle Ave. has both of these things inside themselves, and the resulting tunes are the tension between them. Year of Nod is a frequently elegant, occasionally dissonant, always interesting indie-rock album–those interested in thoughtful, careful sonic art would do well to check this out.