Independent Clauses | n. —unusual words about underappreciated music

Two self-titled: Eliot Bronson / Greylag

December 3, 2014

Eliot-Bronson-Album

Sometimes when a person realizes their immense talent, they whip around like an untethered garden hose on full blast. Eliot Bronson’s self-titled record (but third solo release) sees the singer/songwriter jumping through different iterations of acoustic-based music, making good music in all of them. Some tracks have a Josh Ritter-esque brightness (“New Pain,” which could be a The Beast In Its Tracks b-side); others appeal to lovers Mojave 3-style slowcore alt-country (“You Wouldn’t Want Me If You Had Me,” “Time Ain’t Nothin”); and the bulk of the tracks work in a folk-inspired, dreamy alt-pop vein similar to Peter Bradley Adams’ work (closer “Baltimore” points this out most poignantly).

The highlight, though, is the song where Bronson pulls all those influences together into his own mix: “Comin’ For Ya North Georgia Blues” ties a perky guitar line with a hummable alt-pop chorus and a sense of gravitas. It’s a great song, and it points to current and future greatness. Eliot Bronson is a varied album that shows off how immensely interesting Bronson’s work can be, and how incredibly tight and polished it already is.

greylag

Greylag‘s self-titled album comes from the Led Zeppelin school of rock, which is predicated on the idea that folk and rock aren’t that far apart. Led Zep picked up on their native English and Scottish folk sounds, and Greylag picks up on modern folk-pop songwriting conventions to ground their rock epics. The gentle acoustic guitar, soaring vocals, spacious arrangement and lyrics at the onset of “Burn On” make Fleet Foxes’ Helplessness Blues the most easy RIYL; the lonesome acoustic closer “Walk the Night” could also be any number of young, yearning folk singer/songwriters. “Arms Unknown” starts out with what sounds like a mandolin–whether it is or not, that’s the vibe they’re putting off.

But they also know how to rock. They’re not big into the “massive riffs pounded liberally” model of rock; they prefer the Rolling Stones’ style of ongoing, developing songs that have mood as a goal. “Mama” is a beautiful example of this, as it rocks without getting into stone-crushing distortion. The brooding “Kicking” has grumbling, biting guitars throughout. If the Kings of Leon hadn’t gone full arena rock after their Southern rock days, they may have hit on this midpoint between melodic engagement, rough-and-tumble production, and rock swagger. The culmination of their style is opening single “Another,” which has a rolling, pastoral acoustic base before expanding with tom-heavy percussion and keening, eerie “whoa-ohs.” It doesn’t rock as hard as the ominous, more stereotypically rock-ish “Yours to Shake,” but it’s a great indicator of what Greylag is trying to do here. If you regret that rock got heavier and heavier instead of splitting that difference between acoustic and electric, Greylag should cheer you up.

September MP3s 1: Shining Eyes

October 9, 2014

The next four MP3 posts are going to have impressionistic names, because I’m out of descriptive words after writing this many song reviews.

Shining Eyes

1. “Comin’ for Ya North Georgia Blues” – Eliot Bronson. Upbeat in a way that isn’t cloying, folky in that old-school Bob Dylan way, hooky as if it were folk pop (but it’s not). “Comin’ for Ya” is one of my favorite singles in a while. Bronson, it should go without saying, should be on your watch list.

2. “White Circles” – Stephen Ward. Got that traveling itch? The insistent acoustic strumming and yearning vocals here will make you want to hit the open road.

3. “Scaffolding” – Emilyn Brodsky. I can’t resist ukulele-led indie-pop, especially when sung with such disarmingly mature and comforting lyrics as these. Even though the ukulele leads, this never devolves into cuteness for cute’s sake.

4. “Said and Done” – Joe Con. Joe Con has a quiet assuredness in his vocal tone that gives his back-porch acoustic-pop/hip-hop (a la Mat Kearney, G. Love, and early Mraz) an immediately undeniable quality. This is a slick, slick tune.

5. “Ride It Out” – Elijah Ocean. There’s just something about an acoustic guitar, a piano, and a brush-hit snare that snags my heartstrings. Ocean’s world-weary yet hopeful voice just seals the deal.

6. “Lecimy” – Tara Fuki. Two women’s voices and two cellos comprise the base of this track. It’s a fresh, light, and unique track.

7. “Tapes” – Andrew St. James. The ragged passion of Joe Pug, the vocal swagger of Justin Townes Earle, and an x factor all his own.

8. “In Our Galaxy” – Andrew Foster. Like a Lovely Few song, Foster builds this song from a delicate guitar melody to a fully-realized tune that sings of the mystic, beautiful qualities of outer space.

9. “Balloon” – ErelPilo. Remember the twee, romantic charms of Chairlift? ErelPilo have that sort of doe-eyed, guy/girl romantic pop going on, but with an acoustic guitar instead of a synthesizer. The quirk is still there, though!

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.

Recent Posts

Categories

Independent Clauses Monthly E-mail

Get updates and information about IC, plus opportunities for bands.
Band name? PR company? Business?
* = required field

Archives