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‘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.
Classic-rock new kids Greylag, who have a single that you should listen to, put together a Spotify playlist of songs that influence them. The concept in itself is pretty cool, but their list is even cooler: aside from obvious influences Led Zeppelin and Pink Floyd, they’ve got Sonic Youth, Cocteau Twins and Kurt Vile. Get hip, y’all.
Singer/songwriter Stephen Kellogg is doing a PledgeMusic campaign to fund a four-album cycle based on the four cardinal directions. I’m all for ambitious projects and crowdfunding, so go jump on it.
The diverse Mint 400 Records, home of the band I manage, just released a free tribute to Lou Reed. You can download the short EP by clicking on this link.
A deluxe edition of Songs: Ohia’s Didn’t It Rain is getting a Nov. 11 release from Secretly Canadian. As a fan of Jason Molina’s work, this is exciting to me. Even more exciting is the new song released in celebration of the event, “Ring the Bell – Working Title: Depression No. 42.”
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.
I just spent the better part of two weeks going through a house move and a computer crash. (Why do these things so often tag team?) As a result, I’ve got a very eclectic mix of tracks that I’m into right now. Usually I try to put some sort of theme together, but this one has it all. Good luck!
The New House Highs and Lows
1. “Icarus” – Silver Firs. If Grizzly Bear and Givers joined forces, I still don’t know if they could pull off this track. It’s like a more woodsy version of Architecture in Helsinki, which is my way of saying, “A+ LISTEN IMMEDIATELY.”
2. “Dean & Me” – jj. If you want to know what the world has come up with in 70 years of pop music, you’d be hard-pressed to find a better example track than this one that incorporates vintage songwriting skills (even with a throwback reference!), traditional lyrics (with some existential twists) and sounds that are completely now. Just brilliant stuff.
3. “Blue Eyes” – The Rosebuds. You probably need some giddy, jangly, ooo-filled guitar pop in your life. The Rosebuds provide.
4. “You’ve Already Won” – Slow Buildings. Classic garage rock bass line, tambourine, and half-speed/mopey chorus make for a way fun tune.
5. “Scott Get the Van, I’m Moving” – Cayetana. If you’re not on the Cayetana train, that’s because it’s quickly becoming a bullet train and it’s hard to jump on those. But seriously. Cayetana’s female-fronted punk is blowing up just about as fast as they can get their sound into ears, so you should be on that.
6. “Hold Me Like the Water” – The Radio Reds. You want some churning, claustrophobic punk rock? You got it, chief. The Radio Reds’ latest track makes me feel like I’m in a cramped basement getting my younger self’s demons out through moshing and yelling all the words that the Radio Reds actually are singing. You know what I’m saying.
7. “Valkyrie” – CURXES. If the brittle tones of Sleigh Bells got somehow danceable, CURXES would show up at that party fashionably late and with a slightly higher-end alcohol than was expected of the soiree.
8. “All I Want” – SW/MM/NG. Remember in the ’90s, when one version of indie-rock was rock’n’roll music made with no pretenses of being radio-friendly or traditionally poppy? SW/MM/NG’s earnest, endearing, yelpy slacker psych is a band that escaped the Pavement vortex and made it forward in time 20 years.
9. “Another” – Greylag. Led Zeppelin had that way of sounding wild and adventurous in their acoustic tracks, and Greylag has that same feel. This exciting acoustic-fronted tune has that rolling, ongoing feel of travel.
10. “Rise Up For Love” – Sister Speak. I love dance-pop and EDM in moderation. I would love to see more classic pop songcraft on the radio, starting with Sister Speak’s beautiful, mature, classy, catchy tune right here. It just feels right in my ears, and it would sound so right on my radio.
11. “Pop Ur Heart Out” – Salme Dahlstrom. Have you ever wanted a female Fatboy Slim? Doesn’t matter, Dahlstrom fills the role with aplomb. Seriously, try to not think about “Praise You” during this tune. It’s impossible. I love it.
12. “Everlasting Arms” – Luke Winslow-King. Southern gospel is kind of like Western swing: distinct sound, not that many adherents. Luke Winslow-King is makin’ that traditional sound cool again, and I’m fully on board with this.
13. “Together Alone” – Hollie April. You ever have that moment where you hear a voice for the first time, and it knocks you back a little bit? Hollie April has one of those amazing voices that make me sit up and take notice. Keep watch.
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.