LA based three-piece Hand Drawn Maps’ latest EP Kites brings listeners a taste of the beach with a spritz of playful indie-pop. Like a well-garnished appetizer, Kites is a perfect taste of Hand Drawn Maps’ playful indie-pop-rock. Each track has a slightly different flavor, but what ties them together are the rock-solid vocals, poignant lyrics, and consistent instrumentation.
“Answer in Your Eyes” opens the album with a beachy guitar and subtle percussion. After a few measures, lead singer Stewart James enters in. The first thing I thought of when I heard James’ voice was Ben Gibbard from Death Cab for Cutie and The Postal Service. James’ voice is very similar to Gibbard’s in tonal qualities and range. If you are a fan of Death Cab, you will find particular enjoyment in Hand Drawn Maps.
The second track, “Diamond,” is a cutesy love song with lyrics like, “When I’m with you/ you make my heart an ocean.” The beachy electric guitar makes another dreamy appearance anchoring this track. Towards the end of the song, the instrumentation virtually goes away so that the listener focuses on James and his harmonic background vocal accompaniment.
“Follow the Sun” is probably my favorite track off the EP. It’s somber and darker than the other tracks. Hand Drawn Maps does a really great job matching the lyrics with the instrumentation. For this one, the chorus is basically a percussive/electric guitar build that tries three times to meet its climax, but instead keeps fizzling out. With lyrics like, “I know that I’m gone like a star that disappears at the first light of dawn,” you can see how the instrumentation matches the lyrics: they both are unable to reach their mountain-top experiences. It is not until the last attempt that the instruments reach their climax, paired with the repeated lyric “Gonna let the sunlight in,” the most hopeful lyric of the song. Eventually, that also fades away, and the track ends sounding exactly how it began, showing the cyclical nature of hopelessness. Sometimes, even glimmers of hope can’t take the emptiness away.
“Kites” opens with a playful combination of the electric guitar and bass. This song sounds like one big self-pep talk, as seen in the title lyric: “Relax and let the breeze/ take control and carry me/ just like a kite.” The final track, “Cast Away the Night,” begins with the use of chimes, which echoes the more meditative route the track takes. This softer track is a nice way to close an otherwise adventurous EP. —Krisann Janowitz
1. “Heart Song” – Samuel Alty. Captures the enthusiasm of flamenco and distills it into a two-and-a-half-minute romp that I can’t get out of my head. The music video perfectly complements the ecstatic vibe of the tune: a group of people slowly getting accustomed to dancing in public. This is way, way fun.
2. “Silent Moon” – Supersmall. It’s a warm blanket of a tune–the soft guitars, the comfortable vocals, and the gentle arrangement all come together to just be a lovely acoustic indie-pop tune.
3. “Roman Tic” – John Helix. Fans of Elliott Smith will fall hard for this spare-yet-endearing tune.
4. “21 Years” – Malory Torr. The quirky songwriting and vocal delivery of Regina Spektor (except on guitar) fused to a Bohemian version of Five for Fighting’s “100 Years.” Love the group vocals throughout.
5. “Drinking Song” – Haley Heynderickx. This slightly woozy, charming tune sounds like Laura Marling and Laura Stephenson collaborated on an acoustic jam. The vocals here are quirky and lovely.
6. “Turn to Stone” – Nice Motor. Combines back-porch picking with West Coast, Laurel Canyon country vibes to create a tune that’s not quite either thing: it kinda sounds like The Eagles somehow turned into a folk band.
7. “Sweet Innocence” – Kylie Odetta. It’s rare that the drums stand out in a singer/songwriter tune, but they provide the perfect counterpoint to Odetta’s warm alto lines in this calm, confident tune.
8. “We Sing with Angels” – The Project. With a singer/songwriter chorus, Spanish finger-style guitar verses, and traditional melodic structure evocative of ancient hymnody, this tune goes in directions you wouldn’t expect. The pieces come together for a unique experience.
9. “The One” – Erik Fastén. There’s a sense of noble, dignified romantic angst here, employed through a careful guitar performance, breathy vocals, and fluttering strings.
10. “Follow the Sun” – Hand Drawn Maps. An early-’00s sense of full-band indie-pop melancholy permeates this track–it makes perfect sense that they’re from LA, the home of Phantom Planet and inspiration of Death Cab’s “Why You’d Want to Live Here.”
11. “The Planets Align” – Chris Belson. A deep, silky, enveloping, enigmatic voice dances over a simple guitar.
12. “1963” – Nikki Gregoroff. Gregoroff makes a simple piano line arresting with a bright, clear, magnetic vocal performance.
13. “Kaydence” – Triana Presley. Sometimes you just want to hear a melancholy piano-pop ballad. I’ve been known to love Something Corporate and Taylor Swift. I’ll admit it.
14. “Can’t Erase It” – Kylie Odetta. Somewhere between Norah Jones and Adele lives this beatuiful, wistful track. Odetta’s voice reads far older than her years. (Rare double entry on the same post!)
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.