“Nowhere to Be Found,” the first single from Frances Luke Accord‘s most recent album, is about as mature, pristine, and lovely as a folk-pop tune can get; it’s right up there with Josh Ritter and Gregory Alan Isakov. It’s a stunner, then, to find that the rest of Flukeis just as good in a different vein: the airy, major-key mysticism of opener “Who Do You Run From” evokes Shepherd’s Dog and Kiss Each Other Clean-era Iron & Wine. The rest of the album combines the delicate immediacy of the former influences with the expansive arrangements of the latter influence.
“Something Moving” is an appropriate title, as the second song on the record has an arrangement that sounds like running gently through a forest: claps, tambourine, distant auxiliary percussion, woozy strings, and breathy vocals combine to create a warm tune with an unusual groove as its chassis. “Stones I’ve Thrown” and “Egoeye” continue this arrangement style, putting a heavy emphasis on the mood that is created by the many instrumental pieces coming together. “David” starts off as a more direct tune; the band pulls some of the layers back to focus on vocals, lyrics, and saxophone. It doesn’t last long, as Accord expands the simple beginnings into one of the most complex pieces on the record.
Fluke is an engaging, intriguing album that weaves an incredible amount of instruments and sounds together to create a unique mood. The songs can be appreciated on their own, but the album sounds best as a whole, when Frances Luke Accord can tour you through a distinct sonic world. There are many nooks and crannies to explore on Fluke, and you can have a great time finding them all. It’s not a traditional hands-in-the-air summer record, but if you’re in the woods on a lake and take a walk in the next few months, this record would be a great companion.
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.
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.