Press "Enter" to skip to content

Tag: Novi Split

The top twenty quest

I blew up my computer a few weeks ago, resulting in the lack of posts. I apologize for the deathly pallor that seemed to settle over Independent Clauses. It’s been a pretty crazy few weeks. I get my new computer Friday, and we should be rolling again.

I love and hate live shows. Transcendent, life-affirming and soul-expanding are all phrases I have lavished on excellent sets; soul-crushing, abrasive and interminable are all words with which I have belittled terrible performances. A thoroughly average act skews more to the interminable side, which means the room for error is large.

Making matters even more sketchy is this all-too-common occurrence: that band with lovely recordings which smushes my expectations into the dirt with a reprehensible live show. One band that shall remain nameless suckerpunched me twice: the first set I saw was so awful that I incorrectly passed it off as “an off night” and felt optimistic going in to the second set a year later, which ended up being exponentially worse. I don’t listen to that band any more.

And yet, through all of this potential for letdown, I keep anticipating live shows (I’m resisting a comparison to love and relationships). That anticipation has translated into a new and ongoing project: I’m going on a quest to see all top twenty of my most-listened-to bands (according to my Last.FM).¬† Here’s the list, complete with current statuses. Bold indicates I have plans to see them before the end of the year.

1. The Mountain Goats (1,063 plays) – Seen twice, once in Norman and once in Dallas
2. Sufjan Stevens (1,010 plays)
3. Novi Split (597 plays)
4. Coldplay (490 plays) – Seen once: Ford Center, Oklahoma City.
5. Damien Jurado (487 plays) – Seen once: Opolis, Norman.
6. Joe Pug – Seen once: The Conservatory, Oklahoma City.
7. Low Anthem – Seen once: Rose State Auditorium, Midwest City.
8. Elijah Wyman
9. Death Cab for Cutie – Seen once: Cain’s Ballroom, Tulsa.
10. Relient K – Seen 4-6 times, various Tulsa and Oklahoma City locations.
11. Josh Caress
12. Owl City – Seen once: McCasland Fieldhouse, University of Oklahoma, Norman.
13. Josh Ritter
14. Rocky Votolato
15. Switchfoot – Seen once: Cain’s Ballroom, Tulsa.
16. Bleach – Seen 3 times: various Tulsa locations. RIP
17. Mumford and Sons
18. The Avett Brothers – Seen twice: Austin City Limits 2009; Rose State Auditorium, Midwest City.
19. The Tallest Man on Earth
20. Before Braille – RIP

And to get myself back into writing about music, I’ll be writing about each of the bands, in order.

La Strada makes energetic folk-infused indie rock with a small orchestra in tow

I came into an appreciation of folk music at about the same time the folk revival was beginning to gain prominence (roughly four or five years ago). I was finally lucky enough to catch a thing at its peak; it seems I always go back and discover the goodness of a thing after the fact (point: I saw Death Cab for Cutie on their Plans tour, the Mountain Goats on their Get Lonely tour, Coldplay on its X&Y tour, and Guster on its Ganging up on the Sun tour; all of which were one album after their best album). But this time, I’m on the edge with the rest of the people rocking out to Mumford and Sons, because folk finally reclaimed energy.

La Strada’s New Home does Mumford and Sons one better. Instead of just being a folk band on speed (which, as M+S’s immense popularity shows, is quite alright), they’re a folk band on speed eating an indie band. It’s like gentler Beirut with a guy who can sing; it’s like Arcade Fire with acoustic guitars. This album is so incredibly hip and current that I’m afraid I’m not cool enough to review it. But I reject that notion, because the songs are brilliant. These songs aren’t just for the cool; they’re for people who like anything related to pop music.

“The Traveler” features a bouncy drum line, a mini-orchestra and a jaunty vocal line. The smooth quality of the vocals is immensely reassuring from the beginning of the album; he has the best elements of many different vocalists. His ability to convey emotion without oversinging recalls Death Cab for Cutie’s Ben Gibbard; his effortless delivery recalls people with gifted voices like Novi Split’s David Jerkovich. The fact that he meshes so well with the band makes me think of the National, even though their voices seem separated by (several?) octaves.

The ragged yet gentle rhythms of “The Traveler,” plus the immensely reverbed guitar solo, strings, trumpets, tubas, and keys make for a richly ornamented, impossible-to-dislike song. There’s tons going on here, but as in an Anathallo song, it all works together. Even when they kill the beat, punch up the accordion and turn the song into a Parisian street waltz (not kidding), it sounds amazing.

Then they kick into “Wash On By,” which brings a indie-rock surge of energy to their still-instrument-heavy mix. This song will make you move, as well as yell and cheer with the band. The rhythms, which are distinctly foreign but not exactly easy to pin down, simply bring the house down. I wish I could be in the audience for a performance of “Wash on By.”

Then there’s the title track, which for once is appropriately chosen. I hate it when bands don’t choose the right title track, but this one is far and away the most memorable track of the album (and you thought I’d lavished all the exuberant praise I had in me? naaa). The song is sparse, but it’s not sparse in the lack of instruments; they use the instruments sparingly, locking them in together to pull a distinct and certain mood out of the tune. The word masterful is not an exaggeration of this tune’s quality.

The whole thing is held together by the vocals, again, which are glorious and command several beautiful melodies. The brass band and strings contribute significantly to this tune. You will be singing “Hello strange familiar, you’re my new home; oh, wha-o, wha-o wha-o.” Trust me, it looks goofy there, but you’ll know exactly what I mean when it happens. You will be powerless to resist it.

My highest praise for an album is “I could write a small book about this album.” And it is very, very true of New Home by La Strada. I didn’t even get to talk about the lyrics, the art, the rest of the tunes (and seriously, that’s a tragedy to me, because “Baptism” and “Where You Want to Go” and “Go Forward” are all wonderful and worthy of covering). All I can say is, for your own good, buy this album. It will improve your mood for weeks.

The Points North create unique folk from a myriad of influences and styles

thepointsnorthOne of my best friends and I are huge folk fans. We share some of the same loves (Josh Ritter, Simon and Garfunkel, Iron and Wine), but we diverge pretty hard at one point: he’s a big fan of the British folk sound, and I’m a big fan of the American folk sound. The British folk sound has a very open sound: capturing the sound of rolling hills on the English countryside, the music often abounds with flutes, mandolin, and other optimistic sounds. American folk has a much less optimistic air about it; Dylan’s strum-heavy protest songs and Simon and Garfunkel’s world-weary pop/folk tunes set the stage for the depressing world that American folk resides in.

The Points North take a distinctly British approach to folk, although they hail from Boston. Accordion, flute, delicately fingerpicked guitar, piano, mandolin and more permeate the sound, creating a rollicking sound. But even though these songs are charming, melodic, and sunny, they never become less weighty. Page France was one of the only other bands I know of that was able to capture the balance between giddy music and serious content. And The Points North don’t geek out on a Michael Nau-esque level; they’re much more tempered than that. Stately, as the Brits might say.

If Sufjan Stevens were a little more obsessed with flute, he could have written “Cape Tryon”; the background vocals and general feel of the song would have fit perfectly on Illinoise! If the Low Anthem cracked a smile every now and then, they would be happy to claim the elegaic accordion intro of “I Awoke a Child.” If Nick Drake had found friends to play with him, he could have written half these songs, from the peculiar picking rhythm of “Ever Bright White” to the carefree feel of “Tires & the Pavement.” There are elements of Nickel Creek’s joyful pop (minus the bluegrass), and Novi Split’s goofy swooping musical instruments.

Although I’ve spent most of this album saying who the Points North sound like, that’s not to their discredit. This isn’t an album that causes me to wince every time I hear a musical familiarity. On the other hand, these references (intentional or otherwise) cause excitement and increase enjoyment. The sound isn’t as intimate as my favorite folk bands, due to the myriad of sounds going on, but that’s not what The Points North were shooting for.

The Points North’s I Saw Across the Sound is a unique release, written and recorded with clarity of idea. It’s a very distinctive brand of folk that draws off all the aforementioned bands, but copies none of them. Quite enjoyable and talented.

Some notes and some songs

To keep all you readers in the loop: this upcoming week is going to be kinda scattershot with the posts. On the 19th we’re going to start regular daily posting, and even that will be erratic for a week or two as we get used to our new system. Bear with us. The rust is pretty thick after eight months, you know. It’s tough to shake it off quickly.

Some stuff to tide you over:

David Shultz has a beautiful new demo up called “Down the Road.” You can check it out at end of his player on his Myspace.

Novi Split has three new demos posted. My favorite Novi Split songs are demos, so this is awesome. In fact, Keep Moving was nothing but demos (as evidenced by the fact that follow-up Pink in the Sink sounded like what would have happened on Keep Moving if more than one instrument was playing at a time). As with most things Novi Split, these three new songs are gorgeous, precise and will stick with you.

I stumbled across obscure songs by Jim Ward (Sparta/Sleepercar) and Tim Kasher (Cursive/The Good Life) on this myspace. I own this album (the My Favorite Songwriters compilation album, put out to celebrate Five One, Inc.‘s ten-year anniversary), and it’s a pretty solid comp with all-original tracks. The overall mood is a little bit darker than I usually listen to on a whim, but it’s hard to knock any of the tracks.

Novi Split – Keep Moving

The gurus in the Sunset Alliance camp are geniuses. They have gathered together a fantastic roster of bands, and Sunset Alliance itself is quickly becoming one of my favorite labels. It’s just all so good! The latest Sunset Alliance band that I have the pleasure of reviewing is a little band by the name of Novi Split.

When I say little band, I mean ‘little’. This acoustic-driven album doesn’t even credit the players to what instruments they played. The liner notes do state, however, that this album was “recorded in the bedrooms of loved ones over the last three years”. Even though it took so long, over half of these tracks are under two minutes and thirty seconds long. What do these things have in common? They all serve to show that there is virtually no fanfare surrounding this album.

But the music feels like it should on an album with no fanfare: humble, inviting, and not hyped. ¬†Some ‘small’ releases like these suffer from being too small; they only make sense to the people writing them as a labor of love. Not Novi Split. This acoustic driven folk/pop connects subtly but instantly. Songs such as “Glory! Glory!” are so understated that the confessional lyrics and soft-spoken vocal delivery create the illusion that you are actually talking to the lyricist. It’s the epitome of enveloping.

With the exception of three rock songs and one country ballad, every song here is written in a sparse, haunting down-tempo pop/folk style. As a result, this album is one large emotional sock to the gut. “The New Split” incorporates atmospheric synthesizer, beautiful piano, a xylophone, and heartbreaking harmonies into a beautiful piece about healing from a break-up. This song will go on the every emo kid’s ‘Beautiful Depressing” playlist. I know it’s on mine.

The closest thing that Novi Split has to a radio single would be “Tonight! Tonight!”, a nearly 3-minute pop exclamation point that combines catchy melodies with Novi Split’s characteristic honesty and inclusiveness. It reminded me of Sixpence None the Richer, only with male vocals and less annoying bounce to the arrangement.

This album is a spectacular acoustic album. It has the diversity that so many acoustic acts lack, and it gives us the first taste of some spectacular songwriters. I hope their next album doesn’t take 3 years to record, as I may have withdrawals. Elliot Smith is gone, but Novi Split has skillfully taken his place as the new “great acoustic hope”, returning honesty, passion, and skillful songwriting to the acoustic guitar.