Kris Orlowski has come a long way since 2011, when his At theFremont Abbey EP crossed my desk. Often in the Pauseis his second LP of full-band indie rock tunes, and it is his most musically assured and confident work to date.
Opener “Something’s Missing” is a low-slung indie-rock tune with a bunch of reverb (a la The Walkmen) until it explodes satisfyingly into a Bloc Party-meets-Jimmy Eat World rocker. That interplay between the angular, dusky edges of Bloc Party and the mature, hummable pop-rock of Jimmy Eat World forms the basis of the album’s sonic palette–the acoustic guitars and pianos I love so much are thrown in for contrast and color, either within songs (“Walking In My Sleep,” “Stars and Thorns”) or as a whole song breather amid the noisier tunes (“Go,” “Lost,” “We Share the Moon”). Lead single “Walking in My Sleep” develops the noisier sound well, showing off Orlowski’s talent for combining intriguing rhythms and textures with song structures and vocal melodies that are immediately recognizable to indie rock listeners.
“Electric Sheep” expands this dark, brooding palette with a set of lyrics that blurs the line between the androids of Philip K. Dick’s Do Androids Dream of Electric Sheep and an emotionally cold human being. Orlowski’s lyrics aren’t all literary references, though; most of them are direct, affecting, and effective, working through the tensions of young adulthood in the 2010s: relationships, politics, career fears, meaning-seeking.
The standout song on the record is unity-seeking political anthem “Stars and Thorns.” Lyrically it strikes just the right balance between patriotism, criticism, and optimism; musically it features a towering chorus that gave me shivers the first time I heard it. Orlowski doesn’t try to holler above guitar-rock din–instead, he lets the stomping arrangement punctuate his enthusiasm. It’s one that I immediately pressed repeat on.
Often in the Pause is a surprisingly diverse, satisfying record of crunchy indie-rock songs, ballads, and even some folk-pop tunes. If you’re looking for a big hook and a melody that’s going to sound great in a huge group (the whoa-ohs of “Stars and Thorns” will sound awesome live), Kris Orlowski should be in your listening habits.
1. “Russian Roulette” – Sons of London. Well, damn. Right when I thought Deep Elm was out of the game for post-Blink-182 emo-punk-pop, they go and drop this on us. This is one of the most memorable, can’t-stop-listening pop-punk tunes I’ve heard in a long, long time.
2. “Solitude” – Alpenglow. The good people of Alpenglow seem like the sort of good-natured, thoughtful, interesting people who I’d like to get a beer with and talk about water rights politics. I think they’d most likely have an interesting stance, tell me an anecdote or two, and leave me feeling better off in my intellectual life. I think I mean that this song is smart and fun in equal parts, but that’s reductive and makes it look like I didn’t try (although I think Alpenglow would probably be cool with either description, because when you know yourself, you care less about what others are thinking about it.)
3. “Roll It” – Nap Eyes. Nap Eyes has my vote for breakout band of the year–their loping, engaging indie-rock tips its hat to all the coolest references without feeling derivative. “Roll It” just sounds so immediate and fresh that it’s hard to imagine people won’t jump on this train.
4. “Walking In My Sleep” – Kris Orlowski. Orlowski takes another step farther from his folk roots and closer to an indie-rock home with the debut single from his upcoming record Often in the Pause. Crunchy guitar noise, headbobbing rhythms, and his unchanged ability to write/deliver a compelling vocal melody power this tune that seems always ready to burst but never quite explodes, giving a nice tension.
5. “The Uninvited Guest” – Gladiola. If there’s a Weakerthans-sized hole in your heart, Gladiola is here to fill it with tight power-pop melodies, tight lyrics and an overall sense of weary-yet-determined urban knowledge.
6. “In This Lifetime” – Scary Little Friends. Big, punchy power-pop with a bit of glam creeping in around the edges of the vocals.
7. “Lava” – Pleasant Grove. The distillation of an expansive divorce record that took a decade to complete, “Lava” combines the tough guitar exterior and gentle melodic interior that comprise the tensions of The Heart Contortionists’ early -to-mid ’00s indie-rock. Death Cab for Cutie and Grandaddy fans will find much to love here.
8. “Butterflies” – Wyland. Do you miss The Joshua Tree? Fear no more: Wyland’s got your back with this arena-filling, stadium-rocking anthem.
9. “Come Down” – Water District. Remember that weird, brief moment where Silversun Pickups made grunge into a cool indie-rock thing? Water District remembers, creating their own pensive, emotive brand of grunge-inspired indie-alt-rock.
10. “From Far Away” – SayReal. This infectious, smile-inducing tune will thrill those who like good pop songs and those wished that Michael Franti and Spearhead sounded more like their one unusual pop hit all the time.
11. “Start Right Here” – Jennifer O’Connor. O’Connor takes the basic elements of modern indie-pop songwriting (jangly guitars, plain vocal style, catchy melodies, full-but-not-noisy drums) and turns out gold. I don’t know how that works, but it does.
12. “Guns” – Andy Metz. Punchy, rhythmic piano-pop verses open up into a smooth, memorable chorus, complete with timely political commentary on gun control.
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.