(There were a ton of good songs these last two weeks, so I included a lot more than usual in this post. Here’s to a good problem to have: too many tunes!)
1. “Can You Hear It” – Josiah and the Bonnevilles. A piano-led cross between mid-’00s alt-country (The New Amsterdams, I’m Wide Awake It’s Morning) and contemporary indie-pop whose enthusiasm just jumps out of the speakers.
2. “Mammoth” – Brothers Among Wera. Astonishingly, this is the second song I’ve heard in the last few weeks sung from the perspective of a mammoth at the end of the Ice Age: where Rock, Paper, Cynic’s tune was played for laughs, this one’s a bit more serious in its lyrics. However, the music here is an invigorating blast of folk-pop that has arrangements similar to Of Monsters and Men but tempos more similar to Twin Forks. The horns are just excellent here.
3. “The Man That I’ve Become” – Night Drifting. A blast of sunshine in indie-pop form, this tune has a skittering guitar line, jubilant vocals, and a bass line that bounces all over the place. There’s just enough going to be really interesting without getting hectic.
4. “Time Goes On” – Brothers. Sometimes you don’t have to break ground, you just have to nail the best elements of the formula. Brothers’ tune here is a straightforward folk tune with round acoustic guitar tone in a fingerpicked style, shuffle-snare drumming, root-chord bass with some nice fills, and sing-along vocal melodies. It just does everything I’m looking for in a folk tune (there’s even an organ solo, which isn’t strictly necessary for a folk tune but is greatly appreciated). Keep on keepin’ on, Brothers.
5. “Rose Petals” – Kindatheart. Here’s a fun tune: “Rose Petals” has indie-pop sensibilities (delicate vocal and guitar melodies, feathery background vocals) played at power-pop tempos.
6. “Stray Cats” – Robbing Johnny. There’s more vocal attitude packed into this single infectious acoustic-pop song than into some entire albums; John Murrell has impressive charisma and presence.
7. “Keep Your Lamp Trimmed and Burning” – Larry Campbell and Teresa Williams. Swampy, immediate, forceful, neo-gothic gospel that raised my eyebrows. It’s recorded immaculately, arranged dramatically (whoa organ), and performed intensely. It’s a workout, and I was only listening to it.
8. “THOUGHTS” – Gabriele Miracle. This unique tune ties the theatricality of flamenco guitar and vocals to a minimalist percussion line and mesmerizing guitar lines. It’s a wild trip.
9. “One Good Night” – Candy Cigarettes. Somewhere in the corners of my mind is a picture of a forlorn individual standing outside a hotel while the camera pans backwards away to show off the bleak desolation of the parking lot, barely-lit swimming pool, and the run-down building. The shot is fuzzy around the edges, a sympathetic reading of the place that’s seen better days. I immediately thought of this image when I heard this slice-of-life, mid-tempo acoustic jam.
10. “I Do” – Meiko. I’m a sucker for an intimate singer/songwriter tune about marital bliss, and Meiko’s latest single pushes all those buttons. The strings are great as well.
11. “Single Mountain Fiddle” – Jared Hard. Hard has a country-style tone to his baritone and a bit of country structure to his vocal melodies, but the folk-style arrangement is clean, uncluttered, and engaging.
12. “Thirteen Years Astray” – Glider Pilots. Speaking of big, empty spaces, Glider Pilots plays the kind of slow-motion alt-country that Mojave 3 was so good at. This song is heartbreaking without going for any of the big moves–it simply is infused with the majestic sense of sadness that seems so fitting.
13. “Washed Away” – Katmaz. The album’s called Nautical Things, and this relaxing, easygoing acoustic tune certainly has a gentle tidal vibe to it: there’s a slow, rolling vibe evoked from the picking pattern and a hazy, fluid mood coming out of the vocals.
14. “Never Heard Nothin’” – Galapaghost. A confident vocal performance of a resigned, sad melody plays on top of an insistent ukulele strum. The tune doesn’t outstay its welcome, leaving me wanting more.
15. “passing” – Dead Skunk. Lo-fi singer/songwriter material that falls somewhere between the hazy mood of Iron & Wine’s early work and the angular guitar work of The Mountain Goats’ early phase. It’s warm and relatable.
16. “Anyhow Anyway Anyday” – Wholewheat. Lo-fi work with casio that evokes the old-school lo-fi masters: there’s a clear song structure, off-kilter pun-making, and a clear vision that includes the tape hiss as a vital part of the tune. Lo-fi fans should jump at this.
17. “We Fell Apart” – Abby Litman. Evocative singer/songwriter work that hangs on subtle, thoughtful lyrical shifts and pleasingly melancholy guitar fingerpicking.
18. “Kissing Faded (feat. Timid Soul)” – Bohkeh. If Amanaguchi tried to write a chillwave song, it might sound like this neon-colored, glitchy-yet-chill electro piece.
19. “twentythousand” – Exes. Slow-jam electro-indie with delicate vocals and a convincing emotional palette. The smart use of vocals throughout is a highlight.
1. “Where Are You Running Now” – Ivory Tusk. If you weren’t into The Tallest Man on Earth because of the vocals, check out Ivory Tusk instead: the same sort of complex melodic fingerpicking, similarly poetic lyrics, but a much less grating (I say this lovingly, Tallest Man, really) voice. All the upsides, and none of the down. It’s a beautiful, remarkable song.
2. “Sound It Out” – The Hasslers. Pickin’ and grinnin’ meets New Orleans horns and organ for a full-band acoustic tune that’s fun in lots of ways; even the down-on-my-luck lyrics have wry enjoyment running their delivery.
3. “Intention of Flying” – Jon Arckey. Everything meshes perfectly here: Arckey’s vibrato-laden tenor (reminiscent of a lower Brett Dennen), gentle fingerpicking, excellently arranged and recorded drums, ghostly background vocals, and even a guitar solo. This beautiful acoustic tune just nails everything.
4. “I Feel a Light” – Aaron Kaufman. Starts off like a solid acoustic tune, then bursts into an unexpected chorus that grabbed my attention. The inclusion of gong and various melodic percussion instruments develop the tune and stick in my mind.
5. “False Flag” – Vice-President. Starts out a weighty singer/songwriter tune, turns into an alt-country song, then ratchets up to a towering conclusion. The lyrics are socially and politically minded, which fits perfectly with the serious vibe of the whole work. Yet, the song remains engaging to listen to; don’t get scared off.
6. “Beautiful World” – David Trull. Jason Isbell fans, take note: Trull’s Southern-steeped acoustic troubadour work is in the same vein as the work that Isbell is currently making hay with.
7. “Blue Whales” – Ulli Matsson. The staccato guitar playing here is almost percussive, playing against Matsson’s legato vocal lines. A mysterious, haunting vibe ensues.
8. “Like a Funeral” – Erik Jonasson. Jonasson puts the focus squarely on his vocals with this minimalist, stark ballad, and they hold up to the scrutiny. The tenor tone is beautiful, and there’s a lot of nuance in his performance. By the end it’s grown and shifted to a Sigur Ros-esque vibe, which is always great.
9. “Loves Company” – The Hasslers. In stark contrast to their joyful tune above, this banjo-led ballad is a deeply sad tale (complete with weeping pedal steel). The hooks and the engaging vocal delivery are still there, but this definitely shows a different side of the Hasslers.
10. “Blind” – Raquelle Langlinais. If Regina Spektor, The Jayhawks, and Jenny and Tyler got together for a jam session, something like this perky alt-country tune anchored by charming female vocals might appear as a result. Everything about this is just infectiously fun, from the drums and bass to the guitars to the vocals.
11. “What If” – Big Little Lions. Here’s some soaring folk-pop with an epic bent and giant choruses, similar to Of Monsters and Men or Fleet Foxes.
Imagine a sound that combines the reggae upstroke with brilliant, harmonious vocal looping, ending with an epic ‘60s rock electric guitar solo. That sound is exactly what you will find in “Whatsoever” off of Jaylis’ latest EP My Lonely Shadow.
“Whatsoever” is the best example of how Jaylis combines a myriad of diverse elements. The track begins with a funky electric guitar, followed quickly by Jaylis’ smooth voice. Once the second harmonizing voice joins in, the funky guitar transitions into an off-beat upstroke typical of reggae music. After the chorus, the two voices split: Jaylis’ voice repeats the same melody from the first verse, while the second voice enters a measure later with the same harmony to create a harmonious loop. The dual-vocal layering is a unique way to add intrigue to the track.
In fact, Jaylis does these looping harmonies in every track off the EP. Each track begins with one female voice (Jaylis’), and the second female vocal always starts by adding harmony and ends up looping with Jaylis’ voice. Sometimes the second voice echoes many of the words the first is singing (“Whatsoever”); other times she provides mood-setting oohs and ahhs (“My Lonely Shadow”). Nevertheless, in each track the second voice provides harmony in a truly unique and beautiful way.
Jaylis’ lead singer, Jaylis, has a strong yet sweet voice that begins every track alone or with light instrumentation. In tone and range, her voice is akin to lead singer of Of Monsters and Men, Nanna Bryndís Hilmarsdóttir; it also contains the subtlety within Romy Madley Croft’s voice (The XX). Jaylis’ voice can be seen as an anchor for each of the songs. The vocal aspects of the album are really what sets Jaylis’ sound apart, although the instrumentation is also unique.
Even though the vocal harmonies and looping from My Lonely Shadow may be the first element we notice, let us not forget to take notice of its diverse instrumentation and sounds. Opener “My Lonely Shadow,” mainly accompanied by the guitar, has a mellow singer/songwriter feel. As described before, “Whatsoever” adds a fun reggae element to the EP, along with introducing the 60’s rock electric guitar solo. “Regrets” continues the ‘60s rock feel through its smoky electric guitar. “Spleen” has a much more folky instrumentation, with the upright bass taking more prominence in this track than it did in the others. Percussive elements, along with unique uses of the piano, are also found throughout the My Lonely Shadow.
As a whole, Jaylis follows up their first album with a standout EP. My Lonely Shadow combines many musical elements, including brilliant vocal harmony done through vocal looping, to create a sound all its own. My Lonely Shadow is a harmonious gem. —Krisann Janowitz
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.