Last time I checked in with B. Snipes, he was singing a pristine, delicate folk tune about death taking him on a tour of a city. So it was quite a surprise to find that American Dreameropens up with a wide-open, convertible-top-down, vintage American pop-rock tune. It’s a double surprise to realize that it’s the title track. (“We’re going somewhere new, y’all!”) I may miss folky B. Snipes, but his new direction is just as satisfying. If you’re into American pop, 1950-now, you’ll be all over this record.
After the blast of AM radio that is the opener, Snipes throws down a tune that’s an Isbell-style country rocker in the verses with a sunshiny ’50s pop chorus. It comes off a bit like Ivan and Alyosha’s work. The middle of the record hearkens back to a time when Roy Orbison was huge (“Amy, in Chicago”), country was turning into rock via pop music (“Sweet Eleanor”), and unironic sentiment was cool (“Easy Things,” which has a spiritual sibling in Jason Mraz’s non-rapping work). If you love the Avett Brothers at their most pensive, “Completely” will scratch an itch that probably hasn’t been touched much since “Murder in the City.”
The record is smooth, clean, clear, and deeply listenable. It’s a pop record shorn of the high glitz that the wall of sound and its children would put on the pop sound. They don’t make ’em like this much anymore.
But right when it seems like B. Snipes is ready to cap off a timeless-sounding record, he makes another shift. “Red White Blues” is a gentle yet concerned rebuke of political polarization couched in a tune that sounds like a mix of Bright Eyes, Sufjan Stevens, and the Arcade Fire. That’s a lot of referents to pack into one song, but there’s a lot of song to go around. It’s the easy highlight of the record, made all the more impressive because it still manages to hang with the rest of the record in mood despite being completely different thematically. The sonics here are louder, but they’re still in the same, very American vein. (Which is funny, because The Arcade Fire is Canadian.) The tune provides a fitting bookend to the opener, which puts faith in being an American dreamer; “Red White Blues” is full of practical exhortations about what we need to do to keep being American dreamers.
American Dreamer is an American pop record through and through. It draws from earlier eras of pop’s history but makes statements about our current condition through them. The songs are fun, pretty, interesting and thought-provoking. How much more can you ask for in a pop record? This is great work. Highly recommended.
Magic Giant‘s Free 3-Song EP is the catchiest, funniest, and most fun pop-folk EP I’ve heard in a long time. Not since Twin Forks’ debut has a band had such a laser-guided sense of how melodies catch an ear. But Magic Giant is much more than your average folk-pop outfit. This quartet combines influences from Jason Mraz, Mumford & Sons, Muse, and dubstep to create an irresistible brew.
Muse has long known that the strength of pop music is that the various genres can be infinitely combined, if you spend enough time making the sounds mesh together; Magic Giant is all in on that game. “Let’s Start Again” opens with a trad-style fiddle run, then segues into a Jason Mraz-style alt-pop verse and pre-chorus. The lyrics are both modern and timeless, talking about cell phones and the desire to start over with a lover. Then the chorus explodes in a stuttering sampled horn line, a blaring marching band line, a soaring fiddle, and wub-style synth bass. It seems like it shouldn’t work, but it works perfectly. It’s like Imagine Dragons, but folkier. It’s rave-folk, but it’s not even the best example of rave-folk on the EP. (The fact that there are so many disparate influences coming together is what makes this the “funniest” EP I’ve heard in a while.)
“The Dawn” starts off with Lumineers-style fingerpicking and group harmony vocals before bursting into a full folk-pop arrangement, pulling the arrangement back to pick up the tempo, then turning into full-on Mumford & Sons: banjo, roar vocals, thrashing drums. There are also some synths for atmosphere. It’s tough to explain how effective this song is, because it sounds fully derivative on paper and yet completely exciting in the ear. The last chorus has some more stomping, four-on-the-floor dance beats, but it’s still not the best rave-folk song on this EP.
Finally we get to “Glass Heart,” which is my early candidate (basically, my bar) for song of the year. It starts off with a slow-moving banjo line, doo-wop background vocals, and tape noise for effect. It suddenly transforms by adding a saxophone section (alto/tenor/bari, by the sounds of it) stabbing its way through the verse. The chorus drops a great vocal line, but it’s the next section that makes the song: a jubilant, exultant horn line combined with the techno beat, wub bass, and enthusiastic background vocals (you can guess what they are) that have me waving my hands in the air. Then they layer the chorus over the bridge and seriously I’m in a one-man headphones club.
Rave-folk isn’t a thing yet, but Magic Giant is seriously trying to make it happen. They’re a shoo-in to go on tour with Imagine Dragons, but I daresay they’re more exciting to me than Imagine Dragons. They’re not going to be winning any traditional Americana awards, but I kinda doubt that’s the audience they’re shooting for. If you’re into huge, shoot-for-the-charts pop songs, then Magic Giant should be in your ears. You can get the free EP by signing up for their e-mail list.
December is a tough month to release music: you’ve got orgs like Paste that have already released their year-end lists by the beginning of the month, blogs that are trying to clear out the files from November (or October, or September) to get all their 2014 commitments done, and listeners who are re-living the year instead of hearing new tunes. You should probably just wait till January. But if you don’t, and your release is really good, you might sneak one in under the radar. Morgan Mecaskey is 100% radar sneaking, because anyone who sounds like Sharon Van Etten fronting The National in an eclectic record store is going to get some good words from this camp.
Lover Less Wild is an adventurous, sultry, enigmatic EP that captured me on first listen. Mecaskey’s husky alto/tenor voice leads the charge on music that skirts boundary labels and ends up firmly in that catch-all camp of “indie rock.” Opener “White Horse” has soaring horns, female back-up vocals, churning guitars, push-tempo drums, and some royal fury in the vocals of Mecaskey herself. It sounds like she mentions the name “Jolene” in the chorus, which would hook her up to a long tradition of artists to find an admirable muse in that name. By the coda of the tune, Mecaskey is hollering “Sometimes I don’t feel like who I really am,” which is amazing, because she sounds completely like herself on that tune.
It’s followed up by three tunes that are a few notches down on the tour-de-force scale (but only a few; they all register). “Fighting Extinction” starts out as a distant, questioning mix between The Walkmen and Radiohead before erupting into some funky bass (?!), calling out some Motown horns, and bringing in a male vocalist for a contentious, exciting duet. It also includes the best saxophone solo this side of M83. Because it’s hard for Morgan Mecaskey to do anything twice, the title track opens with Wurlitzer and distant vocals before unfolding into a jazzy, hip-hop/R&B groove. Right about the time that I start to feel we should call up the Antlers and get them on the same tour, the song explodes into towering guitar walls and distorted bass. “Crushed” starts with nylon-string guitar in Spanish rhythms and ends with a full choir (a real one, not just a gang-vocal offering). In short, there is about as much happening in four songs as you can possibly imagine.
Mecaskey holds this whirlwind tour of music genres and styles together with her voice, which is a versatile, powerful, emotive engine. No matter what arrangement she’s leading, she’s in firm control of what’s happening. Her voice is at home wherever she lands it, which is as much a testament to her attitude and confidence as it is her immense songwriting chops. I don’t care if you’re listening to your favorite album of the year again (I know I am, no hate), you’ve got to check out Morgan Mecaskey’s Lover Less Wild. It will keep you spinning.
James Robinson‘s Start a Fire EP is a charming four-song release. Robinson’s acoustic-centric style fits somewhere between singer/songwriter confessionals and adult-alternative pop sheen, like a more mystical Matt Nathanson or a more polished Damien Rice. This mash-up results in the best of both worlds (instead of the dreaded inverse), with Robinson’s smooth vocals getting all silky around arrangements that have some indie mystery and ambiguity in them. Think less Ed Sheeran crooning and more of that feeling you felt the first time you heard Coldplay’s Parachutes.
The quartet of tunes works nicely together, moving along a high-quality clip without drawing attention to any song in particular. “Demons” has some great bass work and a nice, memorable vocal line; “Holes in the Sky” opens with some nice guitar and vocals that evoke Jason Mraz; “Smoke & Ashes” is the most tender of the collection. But it’s the title track that takes high marks here: its polished arrangement frames Robinson’s voice perfectly, making this an impeccably done song that you’ll be humming for a while. If you’re looking for some gentle singer/songwriter fare with some mystery in it, go for James Robinson.
Any discussion of Angelo De Augustine‘s Spirals of Silence must be prefaced by this information: de Augustine sounds, musically, vocally, and even lyrically, like Elliott Smith mashed up with Nick Drake. For many people, this is enough to send them running in its direction. I forwarded this to the resident Smith fan in my life and was promptly given compliments on my character after his first listen. It’s a hit.
But it’s not just that it sounds like Smith: the songs are incredibly well-done. de Augustine has the fingerpicking/breathy vocals/tape hiss thing down, but the things he chooses to fingerpick are beautiful, contemplative, melodic works that move sprightly along. Lead single “Old Hope” is a perfect example of this, as de Augustine whispers his way across a traveling, bouncy-yet-not-cheesy guitar line. (Side note: because this song sounds like Josh Radin, I realized that I’d never noticed how much Elliott Smith influenced Josh Radin.) Other highlights include the oddly heartbreaking “Married Mother,” the tender “I Spend Days,” and the intriguing “You Open to the Idea.”
I could say more about Spirals of Silence, but I think I’ve said all I need to in order to get you to listen to this or not. Viva Angelo de Augustine, please and thank you.
The next four MP3 posts are going to have impressionistic names, because I’m out of descriptive words after writing this many song reviews.
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!
I’ve covered digital label Mint 400 Records before, because I think they do great work in the lo-fi indie/lo-fi folk realm and because they have an interesting business model. The label’s latest compilation Patchwork shows off 17 of their bands, giving a pretty good snapshot of what they’re doing. (Disclosure: I’m the manager of The Duke of Norfolk, who is signed to Mint 400.)
The lo-fi work doesn’t disappoint: Sink Tapes, Fairmont, and The Maravines all have compelling offerings near the beginning of the album. The Multi-Purpose Solution and The Mai 68s hold down the end of the record, making sure you didn’t forget about the indie-rock. The acoustic-based work is also exciting, as newcomer Murzik adds an attention-grabbing piano-and-voice entry. Dave Charles sings a chill song that references Star Wars and sounds like some sort of early Jason Mraz tune. Cropduster provides another standout, with a gravelly, creaking voice over an acoustic guitar until it explodes into a grungy sort of thing for a bit.
Cropduster’s rock isn’t an isolated thing: the label has developed some loud leanings. Shallows’ “Always” is aggressive, dissonant guitar rock that borders on post-hardcore; Tri-State’s tune is straight-up guitar rock; and Jack Skuller contributes some rockabilly with ’50s vocal leanings. Mint 400 has grown from a small label with a specific niche to a widely diverse roster of bands, and Patchwork shows off the best of all of them. Check it out at iTunes or Spotify.
Reina Del Cid has a rare melodic gift. Her 10-song release with The Cidizens is titled blueprints, plans, and each song features one absolutely stunning vocal melody after another. She could have made any song on the whole album the single, and they all would have been just as effective at showing off that Reina Del Cid can write unforgettable tunes. Her pop-folk/bluegrass-lite makes great use of traditional sounds, rhythms and instruments to float her brilliant vocal melodies, from the condescending “Pretty Lie” to the forlorn “Expiration Date” to the striking “Brutal Love.” All of these tunes are mixtape-worthy, which is incredibly unusual. If you’re into anything from Jason Mraz to Nickel Creek to Ani Difranco, you’ll find something to love in Reina Del Cid and the Cidizens. And if you like all of them, then you’re in for a treat.
David Ullman lets you know exactly what you’re going to get immediately. Ullman opens Light the Dark with a single sharp acoustic guitar strum and a howl of, “This is my cry in the dark!” As the rest of “Who You Say” unfolds, it becomes very clear that Ullman comes from the Damien Rice school of singer/songwriters, where hearing the tension and struggle in the vocals is a large part of the charm. Light also features instrumentation similar to Rice’s, with acoustic guitar, piano, strings and vocals taking up the lion’s share of the work. Ullman’s voice is grittier than Rice’s, making some of the tunes here positively punishing on his vocal chords. The lyrics deal with struggle and tension in religious themes, so there’s fertile ground for crescendo and catharsis. If you’re into gritty, powerful singer/songwriter fare, Light the Dark will be right up your alley.
The strength of hunters.’white lies is the interplay between easygoing alt-country vibes and the impressively descriptive lyrics. From describing a picturesque summer evening in standout “Ft. Lee, VA” to chronicling the life and times of the titular character in “Ambulance Chaser,” vocalist Rosa Del Duca nails the lyrics. She has strong control over her voice as well, lending these tunes a knowing, confident air. White Lies is fun to listen to on all levels, as hummable melodies, interesting arrangements, and memorable lyrics abound. This seven-song release is very worth your time.
I associate Damien Jurado with fragile, delicate folk, so it’s no surprise that my favorite tunes on Maraqopa are the quietest. “Working Titles” pairs a gentle ukulele strum with swooning backup vocals and very high steel drum notes (no foolin’) to create a swaying, beautiful tune. “Museum of Flight” depends on Jurado’s falsetto to sell the dreamy tune, and it works out perfectly. The rest of the album is a bit noisier, moving almost over into the dream-pop/indie-pop realm instead of the singer/songwriter genre that he established himself in. It’s definitely a unique sound that new fans may enjoy and embrace. It’s a tough sell for this old-school fan, though.
Scenes aside, Kris Orlowski has established a foundation for himself in the five-song At the Fremont Abbey EP. His voice is a slurry delight, somewhere between the low-pitched snark of Craig Finn (The Hold Steady) and the high-pitched emotionality of Scott Hutchison (Frightened Rabbit). He applies that voice to a batch of solid acoustic guitar-based songs augmented with strings; this particular group was recorded live at the titular space.
I more often feel that songwriters need to loosen up than get more serious, but Orlowski flips the script. He bookends his set standouts “Your Move” and “Jessi,” both weight, impassioned tunes that a man could make a career out of purveying. But in between there are various levels of frivolity, from charming (the inspired “Waltz at Petunia”) to out-of-character (the Mraz-esque pseudo-scatting of “Steady and Slow”). Orlowski attempts to save the latter with a good chorus, but it’s perky and weird. Orlowski does best when he sounds like a non-roaring Damien Rice or Joseph Arthur.
The string quartet makes a surprisingly limited stamp on the lesser tracks (especially “Postcard Man,” which sounds like a Parachutes reject). But they absolutely make the chorus of the beautiful, mournful “Jessi.” “Your Move” is given life by the strings, but it’s the mixed chorus that takes the song home and onto mixes.
Orlowski has shown a lot of variation throughout this EP, but there’s no defining feature. The strings are an integral part of his sound, but they aren’t the x factor. Orlowski needs to work on what his thing is: whether that’s melodies, tight lyrics, songwriting style (sparse/full), unique rhythms (all straightforward here) or whatever else. There’s a lot of raw potential in Orlowski, but he’s got to capture the best parts of “Jessi” and “Your Move” and make them work for him – or, the other songs, if that’s the way he’s gonna roll.
DBG has listened to a lot of music, or has re-invented a whole lot of wheels on Free Burma. Within the construct of a mellow acoustic pop album, he has kept the interest level high by dabbling in many different styles.
“Apples” has a distinctly British acoustic pop feel to it; think Parachutes-era Coldplay or Ether Song-era Turin Brakes. Its spacious, uncluttered sound leaves a lot of room for mood to creep in. The charming “Green” could have been written by any number of lovelorn upbeat acoustic popsters (Jason Mraz, Matt Nathanson, et al). Snare shuffle, banjo and organ anchor the American folk of “Goosey Fayre.” The title track feels a bit like a Cat Stevens tune, which fits its protest themes perfectly. “Wings” feels hearkens to upbeat moments of Simon and Garfunkel’s work. The vocal lines and harmonies throughout call to mind their work, and that’s a very good thing.
The lyrics aren’t all protest songs, although “Free Burma” is a solid protest tune. Much of the album’s content is a personal affair, espousing closely-held ideas on freedom, truth and religious concepts. They are well-written and rarely delivered with a didactic tone. These are DBG’s songs to share, not so much to preach from. This does produce a few saccharine moments (“Thank You”), but overall the lyrics and music are admirably meshed.
DBG’s Free Burmahas some great tunes on it. Despite the many genres represented, the whole thing hangs together for a cohesive set of songs. Check it out if you like acoustic music with a brain.
I really like old-school Dashboard Confessional. The Places You Have Come to Fear the Most was the maximum amount of emotion you could put into an album before it became maudlin; the rest of his discography would bear testament to that. But Places is the perfect combination of raw vocals, skilled guitarwork, powerful melodies and weighty lyrics. I still listen to it, ten years later.
Cady Groves’ The Life of a Pirate has a lot of similarities to Carrabba’s work. Cady has a similar guitar style (although not as raw or as hard – CC was terrible to his guitar strings in the early days), an honest voice and striking melodies. Her lyrical quality isn’t up to Dashboard standards, but it’s easily enough ignored. Just sing “oh” and you won’t even notice.
And these are singalong songs; they aren’t burdened with any tricks or gimmicks. This is songwriting the way I like it: spare and unadorned. There’s nowhere for Groves to hide in these songs, and – thankfully – she doesn’t need to cover her songwriting in layers of junk. It’s solid the way it is.
“Or Else” is an extremely emotive piece that has several ear-catching vocal melodies; “I’m Still Here” makes me wonder if a female version of Jason Mraz would be as loved by male fans as the real Mr. A-Z is by females (for the record: I think yes). “The Life of a Pirate” starts out with pensive sea noises – as opposed to beach-party noise – and never lets the mood of the beach go. It’s a gorgeous song, and it doesn’t feel forced in the least.
If you like singing along to acoustic pop with an open heart and solid melodies, you’re going to enjoy Cady Groves. Her songwriting is clear, bright and infectious. Recommended.
Pull a Star Trip’s E-vasion Inn is one of the more ambitious acoustic projects I’ve heard in a while. Instead of being content to be an acoustic guitar-fronted band singing pretty songs, they set out to fill their songs with memorable touches: background screaming, songs in other languages, electronic beats and more. For the most part, it works.
The base sound isn’t anything that hasn’t been done before. The members of Pull a Star Trip strum their acoustic guitar a lot, stick drums/bass behind it and augment with strings. They sing loudly and passionately, occasionally sacrificing tunefulness for impassioned cries (a la Places You Have Come to Fear the Most-era Dashboard Confessional, which is a compliment). The songs are all worthy of singing along, and some are even worthy of headbanging.
On top of this tried and true base, they layer their personality. The screaming is the most recognizable bit. They do have the sense to always keep it at the same monitor level as background vocals; it’s never in your face. That’s good, because it’s straight-up hardcore/metal raspy screaming. It’s used to good effect in the dramatic “My Last Wish Shall Be a Time Machine,” but in the Jason Mraz-esque “Co-driver,” it just feels really off. By the end of the album, I’d heard it so much that it pretty much registered as static and not as a meaningful element any more.
“Senal” is their offering in another language, and it’s a lush, gorgeous tune. The strings, piano, and electronic elements implemented work together excellently, and the hushed vocals only intensify the mood. The fact that it’s in a cryptic (and therefore, intriguing) language makes it even more fascinating. They do break back into English for the chorus, and that chorus is the best one of the album, as it makes great use of melody and rhythm. “Senal” is definitely one of the most memorable tracks, even though it’s incredibly challenging to sing along with (as you might imagine).”Los Rojiblancos” is in yet another language, and its rattling, consistent Spanish groove and excellent trumpet work creates another winner.
The majority of the album passes in a propulsive yet still breezy mood. If any number of pop/rock bands busted out their acoustic chops more (Boys Like Girls, We the Kings, Yellowcard, etc) but did it with legitimacy and not as a cheap ploy, it would sound similar. As it stands, the sound is similar enough to stuff that’s on the radio to be immediately accessible but different enough to be immediately embraced and enjoyed with out guilt. The large emphasis on strings should make fans of Yellowcard sit up and take notice, while the emphasis on fast, breezy but still intense songs should make fans of Something Corporate and Jack’s Mannequin sign on.
This album is highly recommended for fans of modern pop/rock. It will fit nicely in your collection while filling a space that’s been abandoned since Dashboard Confessional abdicated their spot as kings of acoustic rocking (and, no matter what they say, the Honorary Title is not taking the crown).
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.