1. “Home Away” – Valley Shine. This song excellently combines two things I love: enthusiastic folk-pop and Graceland-style African music influences. It’s the sort of jubilant yet suave work that transcends genre barriers and should be appreciated by people across the pop music spectrum. Just a fantastic song.
2. “Brother” – Jack the Fox. Doesn’t need more than an acoustic guitar, some warm pad synths and an arresting voice to totally take over a room. It’s quality on par with Josh Ritter and Fleet Foxes, but doesn’t sound like either artist.
3. “One Day I’ll Be Your Ears” – Mateo Katsu. Ramshackle, enthusiastic, chunky, herky-jerky acoustic indie-pop from the school of Daniel Johnston and Page France. It’s the sort of charmingly off-kilter work that lo-fi was meant to celebrate.
4. “Lil to Late” – Brother Paul. Here’s a fun, easygoing acoustic blues shuffle with hints of rockabilly, vintage country and self-deprecating humor sprinkled throughout. It’s topped off with just the right amount of Motown soul-style horns.
5. “The Time It Takes” – The Show Ponies. This Americana outfit sounds like a Joe Walsh moonlighting as the leader of a Nashville country outfit: saloon-style piano, radio-rock ramblin’ vibe, and male/female duet vocals straight off your local country radio. It’s not usually what I’m into, but it hooked me and kept me.
6. “Return to the Scene” – Aaron Atkins. Weary yet sturdy, this alt-country/folk tune ambles along on the strength of great rumbling bass lines and a convincingly-achy vocal performance.
7. “Phoenix Fire” – Simon Alexander. From the Josh Garrels/Hozier school of intense singers comes this thoughtful, mature pop song with a great chorus.
8. “Melody, I” – Pluto and Charon. A warm, intimate acoustic performance that retains the fret squeaks and string buzz. It’s more rough in its fidelity than Damien Jurado ever was, but it has a similar sort of vibe in the dignified vocals.
9. “Waterski to Texas” – Budo and Kris Orlowski. Now this one really does sound like Damien Jurado, but the latter-day Jurado. Budo and Orlowski walk a fine line between big, sweeping arrangements of singer/songwriter work and a very personal, even raw, emotive quality. The vocals here are particularly fine.
10. “Gold Ring” – Redvers Bailey. This one’s a lovely, romantic, gently layered song that floats somewhere between Josh Radin’s delicate work and the wide-eyed wonder of “Casimir Pulaski Day”-style Sufjan Stevens.
11. “High Rolling” – Jake Aaron. This acoustic instrumental manages to be complex and inviting at the same time, subverting expectations by not just jumping to the highest treble notes for the lead melody. By keeping the melody low and close to the fingerpicked foundation of the piece, the tune feels both comfortable and complicated. It’s very worth your time, even for those who aren’t generally into acoustic instrumentals.
1. “Galatians 2:20” – The Welcome Wagon. TWW is almost genetically engineered specifically to be a perfect fit with my musical tastes: acoustic-based indie-pop married duo inspired to start a band by Sufjan Stevens who sing humble yet joyfully melodic tunes (often with many voices) whose lyrics are sometimes entirely Bible verses (as in this one). I love it all. If you do too, hit up their Kickstarter.
2. “Be My Girl” – Anna Lee Warren. Warren’s strong, clear alto voice is the centerpiece of this vocal/ukulele/stand-up bass/shaker piece, and it shines bright.
3. “The Swells” – Second Husband. A joyful little ditty about (potentially metaphorically) being eaten by a shark that includes a very Juno-esque flute solo and overall attitude.
4. “When I Arrive” – Bryan Diver. Somewhere between Needtobreathe and Josh Garrels lies this high-drama folk tune with an arresting chorus.
5. “Cold Fact” – I Have a Tribe. Gentle trembling at the top of some vocal notes gives a sense of a particular type of intimacy; not theatrical but not entirely restrained either. Just honest, in a certain way. There’s a very European precision about the spacious indie-pop arrangement here.
6. “Uncomfortably Numb” – i.am.hologram. A hypnotic acoustic guitar line that sounds more like a sitar than a six-string anchors this song. Nihil’s barely contained, sneering voice provides an astute counterpoint to the instrumental base.*
7. “Over You” – Pony Hunt. A vintage walking-speed country loll, but fronted by a clear-eyed alto voice, doo-wop background vocals, and delicate–even sweet–pedal steel.
8. “Eggs and Toast” – Redvers Bailey. This charming, quirky, jubilant ode to breakfast food reminds me of the melody of the Boss’s “Dancing in the Dark.” Pretty much everything else possible is different.
9. “Stay a Little Longer” – Knaan Shabtay. Passenger’s vocal style meets a sped-up version of Josh Radin’s delicate intricacies in a charming, engaging tune.
10. “dirt” – Andrea Silva. It’s amazing how arresting a subtle voice, a guitar, and reverb can be.
11. “Used to Be” – Luca Fogale. A dreamy, lovely tune about running out of nostalgia that nonetheless has a deep sense of memory running through it.
12. “Settle Down” – Dark Mean. Jason Molina and Bonnie Prince Billy would approve of this moving, slowly-unfolding tune constructed of simple elements that are imbued with huge emotional importance.
13. “The Thrill of Loneliness” – Honey Stretton. Goes hard for the pastoral feel: a burbling brook, various animal/insect noises, and the hiss of the outdoors accompany a meandering guitar and a fluttering female vocal. You’ll probably want to walk outside after hearing this–it won’t be as pretty as the sonic picture (unless you’re very lucky locationally).
14. “UURKIDNI” – Emily & the Complexes. Most of E&tC’s work is distortion heavy indie-rock, a la Silversun Pickups and the like. But this is a gentle yet sturdy love song of just an acoustic guitar, even-handed vocals, and atypical lyrics that draw me in. Stunning.
*Full disclosure: i.am.hologram’s PR contact recently began writing for Independent Clauses. This happened after selection of this song for coverage and did not affect the selection of the song.
1. “Finally Happy” – Exzavier Whitley. A major key fingerpicking job that strongly evokes Nick Drake’s work is paired with some heavy lyrics. Delivered by Whitley’s breathy tenor and placed in the context of the guitar work, they aren’t quite as sad as just reading them on a page would be, but they’re still pretty heavy.
2. “Jumping Ship” – Theo Kandel. Lots of people can throw their voice around, but Kandel uses tonal and dynamic shifts carefully (and thus expertly) to take this singer/songwriter tune to the next level.
3. “The Reason for Living” – The Folk Today Project. A short, sweet, simple folk tune that employs a great stand-up bass and solid contributions from the rest of the band.
4. “6 Shots” – Kate Brown. The strum presses forward relentlessly, while the vaguely Celtic strings pull back on the reins. Brown’s alto splits the difference excellently, walking through the tension comfortably and confidently. By the end, Brown has turned in a pretty powerhouse performance vocally.
5. “Silver Mountain” – Adora Eye. The immediate vocal performance and insistent piano call up comparisons to serious folk singers like Josh Garrels and Chris Bathgate. The vibe here is serious, but not so much that there isn’t a bit of swaying that can be done by the listener.
6. “Already Gone” – Wild Rivers. A male/female duet powers this folk-pop tune that sounds like it can scratch the itch left behind by the demise of The Civil Wars.
7. “Teenage Crime” – Rod Ladgrove. Beachy acoustic jams are an intrinsic part of summer, and Ladgrove’s contribution on that front has the mystique of “crime” thrown in on top of a relaxed-yet-carefully-arranged atmosphere.
8. “Catching Elizabeth” – Carter Vail. Here’s another beach-friendly adult alternative pop tune that sounds like a mix between Jack Johnson and James Taylor. There’s a spark in here that sets it apart from the hundreds of other tunes that bear similar explanations; it’s got some groove that keeps me into it.
9. “Blue and Gray” – O.B. Howard. Pizzicato strings provide a contrast to the hazy, relaxed acoustic indie-pop and transform the track into a wonderful piece of lazy-day hammock music.
10. “Last Light” – Maurice Van Hoek. Traditional country is going through a moment right now, and Maurice Van Hoek’s offering continues that old-school vibe with earnest vocals, strong melodies, tender keys, and weeping pedal steel. If you’re on that Sturgill Simpson / Chris Stapleton train, hit this one up.
11. “Can You Tell” – Bird Concerns. The major key folk aesthetics of Blind Pilot meet a West Coast indie-pop sensibility to create a light, enjoyable tune that’s actually about a breakup. Who would have guessed, from the sound?
Wilder Adkins‘ Hope and Sorrow is a beautiful record. The Birmingham-by-way-of-metro-Atlanta singer/songwriter has created an impeccable, gorgeous modern folk record that shows off the value of maturity. It’s the sort of record that stretches the limits of my writing ability, making me want to write simply: “Just go listen to this record. You won’t regret it.”
Adkins has been plying the folk trade for a long time; his discography stretches back to 2009. As a result, Hope and Sorrow is a record that avoids the pitfalls of young artists’ work. Adkins is a patient songwriter, knowing exactly when to include a new instrument, bulk up an arrangement, deliver a word, or hold his silence. The tunes here are measured, careful, and well-edited. Instead of making them boring (as our culture of now might assume), this makes them riveting. There is nothing wasted here: no songs are throwaway, no performance is wallpaper, no lyrics should have been left on the cutting-room floor. To repeat: this album is riveting.
Adkins’ skill is in the delicate, tender folk tune; he expertly lays down gentle fingerpicking with arrangements that don’t drag down the lightness of the foundation notes. His voice is perfectly suited to this work: he has a lithe, evocative tenor that is confident without being brash. It’s not whisperfolk; Adkins can sing. But it’s beautifully suited, melodically and volume-wise, to the songs surrounding it. You can see his vocal deftness in the one-two punch of “Mecca” and “When I’m Married.” The first is a thoughtful, reverent religious discussion, and the second is a beautiful, realistic love song; both vocal performances underscore the lyrics and the mood of the song.
Those twin lyrical themes of romance and religion appear throughout the record; the balance between the two topics keeps the record moving along just as well as the engaging songwiting does. The aforementioned tunes are the highlight on both fronts. “Our Love is a Garden,” “Gentle Woman,” and “Cherry Blossoms” are also beautiful love songs; the title track and “Wrestle” hold down the other front well. But those two topics aren’t the only things on the record, as Hope and Sorrow is a full 12 tracks. It’s a testament to Adkins’ expertise that this record never feels weighty or bulky–it’s long, but it’s the best sort of long. I wanted it to be this long.
Hope and Sorrow is a remarkable record; it’s the sort of record that I keep coming back to over and over. It perfectly blends songwriting, arrangement, lyrics, and vocal performances into a can’t-miss release. This is definitely one of the best albums of the year so far, and one that anyone who loves folk music (Barr Brothers, Josh Garrels, Gregory Alan Isakov, and Iron & Wine, especially) should seek out right now.
I review a lot of really good folk music here at Independent Clauses, but every now and then someone comes along who sits head and shoulders above the rest of the pack. B. Snipes is that rare breed, and the 5-song Away, Away is his calling card. From compelling lyrics to evocative melodies to clear-eyed production, there’s nothing on Away, Away that is out of place.
Some people try to establish a sound in an EP; others try to showcase their breadth. Snipes manages to do both here: while establishing himself as a storytelling troubadour through his lyrics and nuanced vocal delivery, he sets a surprising array of sounds around him in the arrangements. It’s a remarkable balancing act that establishes him as a high-talent artist to watch.
The cleverest trick Snipes pulls to accomplish this balance is to vary what you might expect in a track listing. Instead of starting with his loudest track and getting quieter, Snipes starts out with the intimate, stark, beautiful “Death Came Knocking.” The first half of the track features just a Snipes’ gravitas-laden voice, a bright acoustic guitar, and an upright piano to lend some bass to the proceedings; even when he adds in a banjo to fill out the sound, it still feels like you’re hanging out in Snipes’ living room. The tune itself tells of Death showing the narrator around town, talking about both the narrator and death’s lives. The chorus yearns for a beloved maternal memory–it’s uncertain whether the narrator or death sings the chorus. It’s this sort of subtle touch that gives Snipes’ work the depth that endears it to me.
Elsewhere Snipes shows off his arranging skills, including an open snare on the kit and wailing organ in the dramatic folk tune “Michael.” “Clark Gable Blues” has a 3/4 meter, giving the tune a plaintive, mournful, country waltz/blues feel. The lyrics of lost love and a swooning violin only help the country vibe. The title track and “My Home Town” have a more alt-pop feel, leaning toward Josh Garrels’ brand of twilit, sweeping adult-alternative. At its apex, “My Home Town” gathers steam into the sort of jubilant/morose chorus that Iron & Wine has perfected on his full-band records–the vocal melody seals the deal on it.
All of this is recorded and engineered excellently: the sounds pop out of speakers with astonishing clarity and ease. It’s not easy to engineer a record this bright, clean and clear without it getting a false-feeling sheen on it. B. Snipes and crew have really nailed the balance between clarity and emotive grit. It’s like a Ray LaMontagne album in that regard: it feels raw and passionate without actually sounding lo-fi. It’s a rare thing, and worth noting. Everything sounds gorgeous on Away, Away.
B. Snipes’ debut EP Away, Away is a remarkable release that shows off the beginnings of what could be something really amazing. With thoughtful lyrics, memorable melodies, and striking arrangements, B. Snipes establishes himself here. If you’re into Josh Ritter, The Avett Brothers, or any of the aforementioned bands, you’ll find much to love in Away, Away.
Zach Winters‘ Monarch is a gentle, calming, delicate album of pristine singer/songwriter work reminiscent of Sleeping at Last. Winters’ modus operandi is to develop a single quiet element into a whole array of sounds without ever crossing the threshold into noisy.
The lack of kit drums throughout much of the album helps greatly in building this lush, soothing sound: strings, voice, two guitars, and auxiliary instruments can still sound intimate if there’s no snares and cymbals marshaling them forward. Instead, the sounds and songs here unfold tenderly, one part after another. This is not a pop album; these songs are not built for instant gratification. Monarch sets the mood for an hour, or a day, or a week.
The high points, insofar as can be picked out from the gorgeous whole, are the swells where Winters exercises his arrangement skills: the title track soars as Winters puts everything he has into the six-minute tune; “Deep Deep” shows his “poppiest” vocal melody, which makes the song sound like a lost Josh Garrels tune. “Meant” is a beautiful love song that calls up the closest Sleeping at Last comparisons, while “Tonight” is one of the warmest tracks I’ve heard in a while. Monarch is a romantic wonder in the literary and literal senses of the world: the emphasis on beauty appeals to those eloquent novels and poetry of yore, while lovers of all types will find a sonic analogue to tender affection. Highly recommended.
Naïm Amor‘s Hear the Walls is also quiet, but in a different way. Hear the Walls is a stark, enticing album that relies on mystery and intrigue. The album’s allure starts with its lyrics: the songs are sung in both English and French, giving some of these songs the mystique of a foreign tongue. The ones that do appear in English draw on lightly reverbed guitar, distant arrangements, and whispered vocals to create their enticing moods.
Lead single “No Way Back” is one of the most full arrangements, incorporating prominent strings and a second guitar into the mix. The result is a tune something like Joseph Arthur or an acoustic Teitur might make: a mature, full-bodied song that just happen to be quiet. Follow-up track “Cherche Dans la Brume” features Andrew Bird-style whistling into a tune that’s far more tense than the small arrangement should be able to create. There are some lovely moments, such as the beautiful closing instrumental “Learning America”; the overall impression, however, is one of intrigue.
Amor’s offerings here are equally as mood-creating as Zach Winter’s, but in a very different way. The quiet tension throughout the release makes me look always just around the corner, waiting for the next element to emerge. If you’re into serious music a la Andrew Bird, Patrick Watson, or Joseph Arthur, Hear the Walls will provide a treat.
It’s always a bit unusual for me when songs that I’ve known only in performance make their way to tape. The Fox and The Bird‘s Darkest Hours is composed of songs that I’ve heard the Dallas-based band perform over the past three years since their impressive 2011 debut Floating Feather. “Saints,” “Valley,” and “No Man’s Land” are tunes that have lived in my memory long before they ever found a home on this album, so it’s a bit like welcoming old friends back into my home than meeting new people. Keep that in mind as I praise the album.
The Fox and the Bird is a real chipper folk-pop outfit musically, but their lyrics have a complicated, melancholy tinge. Darkest Hours makes obvious with the title a strand of thought started in their debut. “The Wreck of the Fallible,” “Valley,” and “Habit” all weave together human frailty, the petty ugliness of our actions, redemption, and hope into complex lyrics that keep me pondering as I hum along. “Valley” is especially contradictory in this regard, as I find myself humming the dramatic line “And it was every bit as bad / as our father said” without feeling particularly bad. “Habit” is about a history of violence, sung in an perky, old-school Decemberists vein.
Amid the tension and feeling, there is at least one track that is just happy. “No Man’s Land” is a song of hope, passion, and western expansion that includes jubilant trumpet and a sweeping set of “oh-whoa-oh”s in the chorus. But other than that, it’s charming melodies and back-porch banjo of “Ashes” supporting a conflicted lyric set about loneliness, and the beautiful vintage country harmonies of “Dallas” elucidating how Dallas is a pretty terrible place. (“Dallas is a rich man with a death wish in his eyes / A steel and concrete soul with a warm hearted love disguise.”)
So The Fox and the Bird are not The Lumineers: while both can write folk-pop and country tunes that are melodic, memorable, even masterful, the goals of Darkest Hours are quite different than those of “Ho Hey” or “Classy Girls.” This isn’t to knock either band–it’s to point out that fans of Lumineers’ musical qualities might very well enjoy The Fox and the Bird’s music, but might find the lyrics frustrating or even difficult. Others who are fans of challenging lyrics will find an impressive amount of care and thought put into the lyrics, and they might just dig the extremely strong folk-pop stylings. It’s clear that Darkest Hours was crafted over years instead of months: these tunes shine musically and lyrically. The result is one of my favorite albums of the year so far.
I have often sung the praises of Novi Split, so I’m thrilled that David J is moving into an active phase of his production. His most recent release is a split 7″ with fellow Los Angelenos Brown and Blue. Amazingly, the two bands secured Split7Inch.Bandcamp.com to host the thing–although the availability of their seems-like-it-would-already-be-taken website is only one of the impressive things about the split.
Both bands incorporate country influences and focus on gentle vocals; B&B adds a country sway to a quiet indie-rock ballad of sorts in “Honeymoon Suite,” while Novi Split adds pedal steel to the hushed singer/songwriter vibe of “Stupid.” Both bands have a deeply romantic streak running through the lyrics and overall feel, making them great split partners. My only quibble with this is 7 minutes is awfully short for such a great match. Thankfully, both bands are releasing EPs in March–I’ll just play them back to back and call it good. Definitely check out this release.
It is extremely hard for me to resist romantic music. I don’t just mean love songs, although I’m hard-pressed to ignore those; I mean romantic in the literary sense, romanticism that idealizes love and loss and feeling as near to the highest manifestations of the human soul. Damien Rice and early 2000s emo have a lot in common, you know?
Arctic Tern‘s Leaves EP is a passionately romantic album that combines the emotive vocals of David Gray or Josh Garrels with pristine, gentle arrangements of Sleeping at Last and Gregory Alan Isakov. A lilting Irish air to the vocals only makes the sound more appealing. “Light a Fire” is the most polished of the tunes, a full arrangement with good motion, even a quiet urgency, throughout the track. Other tracks show off Arctic Tern’s (one person, naturally: the solitary genius is a beloved romantic-era invention) prowess with just an acoustic guitar: “Love is Not a Game” and “Ties” have stark sections and yet are still smooth. “Love is Not a Game” expands into a tune with swooping cello, melancholy piano, and glockenspiel–it’s an absolutely beautiful piece.
Arctic Tern’s sound falls somewhere between searching and content: the lyrics speak of the anxious space between love and not, but the arrangements are strong and confident. This is music to chill out to, to make out to, to be thoughtful to. It’s music that gets into the spaces of your mind and smooths those jagged edges, even if only for a little while. It’s an EP that caused me to repeat it 8 times in one day. That’s a mighty accomplishment.
Bunches of MP3s have come my way recently, and I’m happy to share some with you. Come back on Friday for the Spring/Summer mix!
1. “Reno” – Shareef Ali. Anti-folk, acoustic-punk, and country converge on this memorable, attitude-filled breakup tune. (Ali’s CD release show is tonight, if you happen to find yourself in San Francisco.)
2. “Blankets” – Matthew Fowler. Fowler has a smooth, soothing voice that sounds far more mature than his 19 years. Fans of Josh Garrels and Ray LaMontagne should take notice.
3. “The Lampolier” – Grover Anderson. As fall moves toward winter, let’s move from pretty singer/songwriters to the haunting, backwoods Appalachian murder ballad tradition. The production here is particularly notable.
4. “Down to My Soul (The Music)” – Kate Vargas. When a woman says she’s influenced by Tom Waits, that gets my attention. Vargas delivers on that promise with raspy, soulful, inspired folk full of banjo and danger.
5. “Strugglin’” – I Am the Albatross. This one also starts out as a Tom Waits-ian folk ramble, but it transforms into a Gogol Bordello folk/punk/polka blaster complete with vengeful religious imagery. All aboard!
6. “All Walks of Life” – Mike Dillon. I’m used to Mike Dillon’s unclassifiable madness played at 3 zillion BPMs. This unclassifiable madness includes a significantly chiller body before a naturally madcap coda but is no less weird: it still includes vibraphone, trombone, drums, and Dillon’s crazy vocals.
7. “Alta / Waterfall” – Fear of Men. Jangly indie-rock urgency married to the rich, dusky landscapes of Bowerbirds and the like.
8. “Blight ft. FatRat Da Czar” – We Roll Like Madmen. Very smooth, dark, crisp electro here. FatRat Da Czar raps some really nice flow over it, really making this track.
9. “Ruin” – Vedas. The PR for this one calls it a “hollow depletion of hope,” which makes me want to try and cheer them up. Their James Blake-ian electro-pop/R&B/indie/whatever stuff is definitely attractive, though. All is not lost, yo!
10. “Reset” – Maggie McClure. Here’s a cathartic, female-fronted, piano-based pop tune for those who never stopped secretly loving The Fray and The Goo Goo Dolls.
11. “RaVe (feat. Kris English)” – Cloud Seeding. Is it folk? Is it electro? The lines keep getting fuzzier. Either way, this one is a lithe, easy-moving track.
12. “There Was a Time” – Corea Blue. Lo-fi can always get grittier, y’all. Props to this track for creating a zen-like mood and tone while using tape hiss as an instrument.
The ever-prolific Fiery Crash has ditched the fuzzed-out dream pop for a much more straightforward acoustic guitar album on Practice Shots. The results sound something like an early M. Ward album on downers: Josh Jackson’s acoustic guitar sound is warm and gentle even while being played in precise rhythms, and his rambling/mumbling/singing vocal style calls up great memories of “Chinese Translation“–although Jackson’s voice is lower than Ward’s. Working with not much more than that throughout the album, Jackson constructs tunes that float the entire way through.
Jackson’s baritone voice could be a dominant feature, a la the National, but he balances it perfectly against the other elements. The result are tunes that flow smoothly on their own and as a cohesive whole. “Equinox” layers three guitar parts, a vocal line, and simple percussion without ever feeling cluttered; opener “Cada Ano” pulls a similar feat while featuring an arresting vocal melody. “For the Canopy” is a little duskier in its mood, allowing for a pleasant variety. Even the louder tracks fit with the lazy, slowly rolling mood: “Volleybeachball!” uses an electric guitar and a speedy drum machine but is dragged back into the mood with a lackadaisical vocal line.
Fiery Crash has kept the quality level incredibly high over this latest dispatch of prolific production. This is the second full album and fourth release in this calendar year, and Practice Shots is the best of the bunch so far. I don’t know when Jackson will let up, but at this point he’s clicking on all cylinders. Fans of cheery, breezy acoustic songwriting like (early) Shins, She & Him, and more will love this. I look forward to his next move.
The title track for Together Through It All must have been an incredibly easy choice for Kye Alfred Hillig: in a 14-song album with few clunkers, “Together Through It All” stands head and shoulders above everything else on the record. Hillig’s forte is creating almost uncomfortably intense tunes, as if Ray LaMontagne’s vocal chords, Josh Garrels’ lyrical depth, latter-day Sam Beam’s arrangements, and David Bazan’s general passion were all crammed into one artist. “Together Through The Years” tracks the downward progression of a troubled son through the eyes of his loving, committed father: by the last verse, Hillig is roaring out over pounding drums and blasting horns that “the tombstone don’t make the man/And that’s not how I choose to remember him.” Hillig then returns to the devastating chorus: “I’m still his father/he’s still my son.” If you don’t get shivers or goosebumps or something during this tune, I don’t think this blog can help you much.
Hillig doesn’t just focus on heavy topics; there are some excellent love tunes here as well. “An Unedited Presentation of Souls,” “You and Me and Time,” and “Trampled/Triumphant” all take the average love ballad and crank up the intensity a few notches. The lyrics themselves are far more intimate and emotionally raw than I expect to hear, and the passionate vocal delivery is jaw-dropping at times. Hillig is a focused, powerful vocalist, but he can also deliver songs sweetly. It’s a rare thing to find.
It’s also rare to hear so much diversity fit so neatly on a record. The dense arrangement of opener “Breaking Lungs” makes it feel like a lost track from Iron and Wine’s Kiss Each Other Clean, while “War in Spring” is a perky piano-pop tune anchored by a Postal Service-esque beat. Closer “Does My Soul Still Sing?” is a majestic, reverential, synth-laden elegy, while “Free the Birds” is a garage-rock track anchored by campy organ. (Okay, “Free the Birds” does stick out a bit.) But other than that one, Hillig makes all of the tracks work by investing each of them with an equal amount of passion and care. No track here feels cast off on a whim: Together Through It All is completely and carefully organized.
If listening through the whole 45+ minutes is a bit of an exhausting experience, it’s a thrillingly exhausting one. There’s more charm and care crammed into this album than most bands can get into three albums. If you love singer/songwriters who aren’t necessarily out to make you happy, but are definitely out to make you feel, you need to know Kye Alfred Hillig. Trust me on this one. Kye Alfred Hillig will make you smile, laugh, and cry.
The latest edition of SLTM the Podcast is sponsored by Independent Clauses. You don’t want to miss it, especially if you’re a fan of heavy music, 1800s poetry, or The Parson Red Heads.
Elizaveta initially comes off as Regina Spektor/Ingrid Michaelson follower, but there’s a sharp left hook in the chorus that has me very excited for the future. Don’t worry; you’ll know it. Hers is a career to watch closely. (As for the video? Well, it’s got serious wtf factor.)
Noisetrade’s Fall Sampler includes several artists that IC has featured among its 30-strong ranks: Brianna Gaither, Jenny and Tyler, Joe Pug, David Ramirez and Sleeping At Last, the last of which was covered so early on in Independent Clauses’ history that the review isn’t even on this version of the site. There are also several bands we highly recommend that haven’t been officially covered here at IC: The Middle East, Derek Webb + Sandra McCracken, Ivan & Alyosha, Josh Rouse and Josh Garrels. I’m guessing the other third is full of joy and wonder as well – I’ll be checking it out soon.
If you’re into the whole ’80s nostalgia thing that’s going around, you’re going to be all over Geoffrey O’Connor. His album Vanity is Forever is streaming in full over here. Seriously, it’s 1985 on that webpage.
Beirut’s The Rip Tide is still keeping me company, and now a visual aid has been supplied! Sunset Television made this bizarre yet somehow fitting clip for “Santa Fe,” and while I’m not really sure what’s happening, I enjoy it.
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.