Merry holidays, everyone! Now, back to the music. I sometimes get talky here, but let’s get straight to the best ofs instead, since I’m already late on this. Here’s 11-20, listed from top to bottom. 1-10 comes tomorrow!
11. The Yellow Dress – Faint Music / Ordinary Light (Review) Most of indie rock used to be rickety, pastiche, oddball, and endearingly weird. Now only certain parts of it are: The Yellow Dress is certainly in that category, as their enthusiastically unusual indie-rock winds, warps, and wanders its way across the landscape. My wife and I sing “Isaac Fitzgerald (bum bum bum)” to ourselves absentmindedly.
12. Wolfcryer – Wild Spaces / The Prospect of Wind / Singles. (Reviews) Wolfcryer’s two EPs escaped the short-player list because his total 2014 output was closer to double-album length. His strum-heavy troubadour style gives a shot of energy to the often ponderous singer/songwriter game, and his engaging vocals deliver great melodies. Wolfcryer is going places, so you should jump on that train now.
13. Falcon Arrow – Tower. (Review) Falcon Arrow’s post-rock sounds nothing like anything I’ve ever heard in the genre: a drum-and-bass duo, the bassist uses what must be an army of pedals to create octaves upon octaves of notes, patterns aplenty, and looped bits galore. The results are soaring tunes that evoke the title of the record.
14. Zach Winters – Monarch. (Review) Snuck in at the end of the year, Monarch is the sort of unassuming album that works its way into your life and then acts like it never wasn’t there. Winters’ powerful arrangement skills are put to use in slowly-developing work that never roars but often washes over you.
15. Summerooms – S/t. (Review) Everything that Josh Jackson does is fun to listen to. Even this lo-fi “side project” that he amused himself with during the production of his new, hi-fi Fiery Crash record is awesome: it has that warm, lovely, dreamy glow that makes me think of summers by the pool.
16. Andrew Judah – Monster. (Review) Monster is a technically impressive marvel: an indie-pop record that juxtaposes instruments, styles, and moods with ease. It’s dark and not always fun, but it’ll drop your jaw at places.
17. Leif Vollebekk – North Americana. (Review) I fell in love with Gregory Alan Isakov’s gentle, smooth work last year; Vollebekk’s work isn’t as quiet all the time, but it does rarely get noisy. His drawling, attitude-filled vocal delivery gives a shot of intrigue into the elegant singer/songwriter work.
18. The Lovely Few – The Geminids. (Review) Wide-open, mood-evoking electronic music that uses outer space as its muse and touchstone. Entirely transporting and enveloping.
19. The Good Graces – Close to the Sun. (Review) Alt-country and indie-pop meet and mingle throughout this thoughtful record, which includes lots of surprising lyrical and musical moments.
20. Brook Pridemore – Brook Pridemore’s Gory Details. (Review) If you sped up a latter-day Mountain Goats record, or if you put a full band behind an early MG record, you’d end up with the folk-punk theatrics of Brook Pridemore. Great melodies, great arrangements, a lot of fun.
Honorary Mention: The Weather Machine – The Weather Machine. (Review) This one came out in 2013 and isn’t eligible for best of 2014, but it came to my attention this year. Brilliant songwriting reminiscent of Josh Ritter, The Mountain Goats, and more: what’s not to love
The toughest part of writing about Andrew Judah‘s Monster is trying to figure out how to explain the thing in genre terms. Is it OK Computer-era rock without the guitars? The Decemberists’ indie-pop having a nightmare? Lushly orchestrated trip-hop? Genre labels aside, it’s a whirlwind ride of unusually-juxtaposed instruments that knit together perfectly under Judah’s careful composer’s ear.
Judah is a highly sought-after commercial composer; you’ve probably heard his work without knowing it. His third album of artistic compositions sets wild, intricate foreground elements on top of cinematic backdrops for maximum immersion. Judah works mostly in minor keys here, building brooding, intense landscapes that build to bursting. “I Know You Know” turns a smooth, cascading guitar line into a stuttering, bewildering footrace; the song culminates in a furious maze of arpeggios surrounded by glitching keys, layered vocals, and complex drumming. It has a visceral, physical quality to it; I can almost feel the sounds happening to me.
“Better and Better” amps up the ominous qualities of the record, starting out with heavy pad synths (although he notes in the liner notes that this might be a banjo played with a violin bow), muted piano, and gurgling bass. This is an album where sounds take preeminence over the instruments that make them: it could be a banjo or steel drums, keys or guitar, bass or keys, electronic or live drums. The performer isn’t important: the fact that the sounds mesh perfectly takes precedence.
Back to “Better and Better”: Judah’s voice is digitally manipulated to sound alien and yet comforting, which is the same sort of tension that Radiohead perfectly captured in OK Computer. But Yorke and co. didn’t try to make that into the eerily joyful soundtrack for a dark carnival, as Judah does here. It’s a profoundly unexpected turn. The title track draws some musical composing tricks straight out of old horror films, with wavering theremin sounds floating uncomfortably above the acoustic guitar before unveiling some of the most delicate, tender work that Monster has to offer.
Judah revels in the abrupt shift; many of the tunes here move from this to that unexpectedly. Sometimes it’s quiet/loud/quiet; other times the tone or mood shifts. Sometimes the time signatures change. “What Now?” draws on a relatively disorienting use of syncopation to throw you off. Yes, he employs a variety of tricks to keep you interested, and it works really well. The biggest element that draws me, however, is how it all hangs together. You can listen to Monster beginning to end without necessarily marking the titles of songs. You’ll definitely look back to see what the names of “Morning Light” and “I Know You Know” are, but you may find yourself feeling that the ballad “Willis” just kinda runs along with “Twitch & Shake” and “Better & Better.” You can enjoy it that way if you’d like–more power to you.
Monster is a dark record, but it’s not a grim or hopeless one. It explores brooding territory without getting overwrought, which is a tough balance to strike. Some albums feel like the songwriter is talking to you; this one feels like watching a movie by a director friend of yours. It’s not impenetrable, and you can see flashes of your friend’s hand, but it’s more about the unique experience of that particular media than the person behind the curtain. Andrew Judah gets out of his own way here, letting the intricate, complex, fascinating songs tell their tales. It pays off in spades.
The new Woman’s Hour video features six middle-schoolers who made up the dance themselves. The band and the director comment that it points out both the awkwardness of middle school and the ability of teenagers to emulate pop culture. It’s a gentle way to introduce a serious topic. Very cool video.
I love goofy concept videos, and this one is par excellence on that front. Why not get five industrial-grade digital road signs to “sing” for you? Super-fantastic. Great job, Stormcellar. (Even if it is from 2010.)
I’m firmly on-board the Andrew Judah train, and this video keeps that trend going. Simple yet entrancing.
Greylag’s “Another” is a great tune, so I’m posting their performance video of it. It’s not much to look at, but you deserve to hear “Another” again.
Here are some neat things that are happening in the music world.
Singer/songwriter Aaron Hale (whose music IC is quite fond of) is now part of The Orphan Care Network as the head of artistry and advocacy. Helping orphans through art? I would say that’s pretty much in line with everything I want to be about. He is currently booking house shows in the Texas/Arkansas/Tennessee/Alabama area. If you want to host/attend a house show, get more information, or support him financially, you can e-mail him at email@example.com.
Andrew Judah is the best singer/songwriter you’ve never heard of (and I hadn’t heard of, until recently). He’s put up all his incredibly complex, unique and engaging work for free on Bandcamp so that you can get to know him better ahead of his upcoming release Monster (which I am absolutely thrilled for). So if you don’t feel like supporting artists but wants lots of music, this one’s for you!
Julianna Barwick and Dogfish Head Brewery are two of my favorites at their respective games. (Julianna Barwick might be the only person in her loop-one-voice-into-dozens game, but the approval still holds!) They’ve teamed up to make a beer and an EP named Rosabi; the EP includes the sounds of the beer being made. The beer, however, does not come with a download of the album (wishful thinking!). You can pick it up wherever Dogfish Head is sold; it just went on sale 6/20, so hopefully there’s some left at your local store of choice.
Youtube just got way more music-friendly: Paste and Music Vault are now hosting their own channels. The Music Vault contains Daytrotter sessions, as well as a veritable treasure trove of historical finds. Go nuts, y’all.
Soundsupply continues to hone their niche in the punk/emo/hardcore world by featuring Say Anything and the beloved-by-pop-punkers Allison Weiss. (Allison Weiss is also beloved by Independent Clauses for being one of the most forward-thinking businesspersons in music.) Go get tons of music for relatively cheap and support artists!!
It was bound to happen at some point: a service called ARENA has busted out a “rent-to-own” plan for music. I have no idea whether this will catch on, but there is a quantifiable difference between a song I played once for research and listening to “Wild One” by Flo Rida 30 times because I run to it. Will keep you posted, if anything happens because of this service.
Speaking of running, IT’S TIME FOR THE RUNHUNDRED MONTHLY LIST!!! —Stephen Carradini
The Top 10 Workout Songs for July 2014
This month’s top 10 list plays host to an eclectic bunch of established and upstart musical acts. On the international front, you’ll find a reggae hit from the Canadian band Magic and a platinum single from Norwegian duo Nico & Vinz. Elsewhere country artists Jarrod Niemann and Lady Antebellum document their nights on the town. Finally,you can check out the latest from newcomers Tune-Yards and Charli XCX alongside chart regulars Katy Perry and Shakira.
No matter where your interests lie on the musical spectrum, there should be something for you below. So, if you’re looking for a few new tunes to liven up your summer workouts, this month’s playlist will give you 10 great places to start.
Here’s the full list, according to votes placed at Run Hundred–the web’s most popular workout music blog.
Nico & Vinz – Am I Wrong – 121 BPM
Katy Perry – Birthday – 124 BPM
Charli XCX – Boom Clap – 93 BPM
Jarrod Niemann & Pitbull – Drink to That All Night (Remix) – 120 BPM
Magic – Rude – 72 BPM
Lady GaGa – G.U.Y. – 100 BPM
Shakira – The One Thing – 84 BPM
Tune-Yards – Water Fountain – 111 BPM
Far East Movement & Riff Raff – The Illest (Rell the Soundbender Remix) – 80 BPM
Lady Antebellum – Bartender – 101 BPM
To find more workout songs, folks can check out the free database at RunHundred.com. Visitors can browse the song selections there by genre, tempo, and era—to find the music that best fits with their particular workout routine. —Chris Lawhorn
The best songs move me. The best music videos take the best songs and make them even more powerful. Andrew Judah, already one of the most inventive and creative songwriters I’ve discovered this year, just dropped an absolutely astonishing video for “I Know You Know” that ranks high among the best I’ve seen this year and this decade.
Exzavier Whitley’s “How Will You Be” channels Nick Drake, Alexi Murdoch and other chill fingerpickers of note. Don’t sleep on Exzavier Whitley–he’s got huge talent.
Kye Alfred Hillig performs his song “Ex” as part of an a capella trio, making the already excellent song even more haunting and unique. Hillig, people. HILLIG. GET ON HIS LEVEL.
Stellar power-pop band Bishop Allen with only 14,000 views? WHAT IS THIS?! Give them your view. You will not be disappointed.
1. “Capernaum” – The Collection. The Collection always blows me away with the intricate complexity of their arrangements. It sounds as if David Wimbish has found an entire orchestra to pour his heart into here; whatever’s left over is spilled out in his deeply mournful and affected vocals. The tension between chipper music and deep sadness in the lyrics is beautiful, calling up sentiments similar to Page France and Sufjan Stevens (but way more orchestral–I know, what could be more arranged than Sufjan’s work? Just listen.)
2. “I Know You Know” – Andrew Judah. Judah is one of the most inventive arrangers I’ve come across in a long time. His songs genuinely defy notions of genre.
3. “The Dusty Air I Breathe” – Clockwork Kids. Confident performances and strong production kick this riff-driven indie-rock track up a notch. The powerful vocals here are particularly surprising.
4. “Two Ships” – Field Mouse. Every time I hear palm muting and pad synths, I think Fleetwood Mac. That comparison isn’t too far off in this mystic, dark indie-pop track.
5. “Kaleidocycle II” – Cloud Seeding. Powerful, beautiful instrumental indie-rock that doesn’t turn into post-rock or electro jams is a rare animal, so get out your safari cameras now.
6. “Banks” – Red Swingline. This complex acoustic picking and arrangement by a project that generally does progressive metal basically becomes a rolling, beautiful post-rock tune with some jazzy moments. Pretty cool.
7. “Room and Pillar” – Knife the Symphony. Cincinnati’s finest, most furious punk band is at it again, serving up brutal, dissonant punk that makes me marvel at how three people make this much noise.
8. “Song 32” – The Austerity Program. I don’t need a reader survey to know the readers here aren’t usually metalheads. BUT IF YOU ARE, The Austerity Program is pretty friggin’ impressive with the riffs here.
It’s getting better and better outside, so my ears are getting more and more attuned to those summery tunes.
Oh So Summery
1. “Philosophize In It! Chemicalize With It!” – Kishi Bashi. He’s on Joyful Noise Recordings, which sounds like a 100% perfect fit. This ridiculously happy and catchy tune will get stuck in your head. HAPPY SUMMER Y’ALL.
2. “Sweater Weather” – Challenger. If John Ross gets any more inspired by the ’80s, I’ll have to start questioning where he’s hiding his time machine. But for now, enjoy this blissed-out synth-pop, complete with gated snares and stuttering percussion fills.
3. “Dead Man’s Pose” – Old Smokey. Almost as excited as Kishi Bashi is Old Smokey, a folky outfit that features no guitars but 3000% enthusiasm. This is not your average folk: brass and clarinet counter throughout when the members of the band aren’t group-hollering. It’s just wonderful.
4. “Let’s Get Started” – Dylan Gardner. OH SUMMER YOU ARE ALMOST HERE. I will celebrate you with a guitar-pop tune by a flop-haired teenager with pop chops. I only thought of Hanson like once. Mostly the Beatles. But some Hanson. No Bieber though.
5. “Halo” – DamnRight! There’s always room in my heart for chillwave-inspired electro fun.
6. “I Spy” – Michael McFarland. I love Train, so take this as nothing but a compliment when I say that this track falls somewhere between Train and old-school Guster.
7. “Old Foes” – Yaquina Bay. Orchestral folk is not generally known for its easygoing vibe, but Yaquina Bay creates just such a mood here.
8. “Morning Light” – Andrew Judah. I’m not sure how Judah came up with the idea to get steel drums and banjo together, but it sounds incredible. I am extremely excited for this upcoming record–it promises to bend genres all over the places.
9. “Terrible Love” – Moda Spira. Latifah Phillips takes a different angle on The National’s slow-burner, but it’s no less dramatic or powerful at the end.
10. “Right In My Arms” – Exzavier Whitley. Like early Iron & Wine, this is deeply calming fingerstyle guitar that cares more about the mood than perfection of performance. Gorgeous work.
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.