1. “e. silver” – Roco. Noises, riffs, rhythms, and vocals collide in atypical ways, creating an exciting, “what will happen next?” environment. Sort of like The Avalanches, or weird trip-hop, or a Beck fever dream, or none of the above.
2. “Where I’ll Be Waiting” – Why We Run. This Snow Patrol-esque tune that falls between alt-rock and indie-rock rides a memorable guitar riff with an engaging guitar tone. The tune’s about a friend with a mental illness, which many of us can relate to.
3. “Permission” – Slow Falling Sun. If you’re into ’90s Britpop, you need to be listening to this bouncy track.
4. “Fatal Vision” – Brice Randall Bickford. Bickford uses his smooth baritone to turn out a vulnerable, engaging vocal performance. His voice leads the way through this almost-weightless, pristinely recorded indie rock tune that will be appreciated by fans of Spoon.
5. “The Great Attractor” – Qualms. Big, round bass and an attractive variety of synth sounds build out this midtempo tune; the vocals ride the waves nicely. Comes out like some mix between Spiritualized and Manchester Orchestra.
6. “The Blue Hour” – Brand New Moon. BNM fuses folk, slowcore electro, and trip-hop to create a unique, fascinating, imaginative track.
7. “Books for the Holidays” – Halcyon Drive. Hits you with the Antlers-style blue-eyed soul/R&B vibe that’s so popular right now, then shifts gears with a ratatat snare into a charging, Bloc Party-esque rock tune without changing vocal style. Now that’s a hook.
8. “Imaginary You (feat. Stahalamora)” – Lyfe Indoors. Ambient? Chillwave? Found sound? Whatever you want to call this, it’s got admirable movement, melody, and arrangement skills. Chill, hypnotizing, mesmerizing.
A ton of great singles have come my way in January, so I thought I’d put them all in one big post arranged quiet to loud. Enjoy!
1. “Pacific (Acoustic)” – Indigo Wild. Were you looking for a rolling, intricate, acoustic mountain jam? Like Fleet Foxes if they were less hazy, this will make you long for the pines.
2. “Anna” – Daniel G. Harmann. After graduating his solo project The Trouble Starts up to a full-on rock outfit, Harmann gives old-school fans a few tracks that hearken back to his early, dreamy days. His trembling, soaring voice over spare guitar chords is just wonderful to these ears.
3. “Alone You Stand” – Fairmont. A mysterious, even a touch ominous, tune anchored by ghostly marimba and poignant duet vocals. (Check a full review.)
4. “Slow & Easy” – Scott H. Biram. Less gospel and more ominous vibes mark the second Biram single off Nothin’ But Blood. It’s still incredibly engaging, what with the crisp production and Biram’s voice.
5. “Celeste” – Ezra Vine. If you’re of the opinion that you can never have enough hand claps, whoa-ohs, and happy melodies, raise your hand. Then lower that hand and click on this peppy, wonderful tune.
6. “Girl Don’t Fight It” – Phone Home. Optimistic, keys-heavy, proggy indie-rock in the vein of Fang Island, And So I Watch You From Afar, and others. It’s giddy and heavy and intelligent!
7. “Planets” – Little Earthquake. Peppy acoustic-pop + massive MGMT synth melodies = this unique song.
8. “We Fall Down” – ASTR. Fans of Icona Pop, take notice.
9. “Violent Shooting Stars” – Robot Princess. Mostly RP is a heavy, exuberant, video-game-infused garage-pop band (WEEZER FOREVER!!). This track puts them more in a pensive mood (at least for them) before ratcheting up to some stomping guitars. Get your power-pop on, dudes.
10. “Bird in the Water” – The Trouble Starts. Harmann’s band, throwing down pop-rock a la Snow Patrol. This would be fun to hear live.
11. “Tangle” – Acid Fast. Starts out with a nostalgic, emo-esque half-time section, then blasts off into a punk rock second half. The melodies bounce off those basement walls with almost more cymbals and passion than you can handle.
12. “Countermanded Orders to Preserve the Space-Time Continuum” – Heavier Than Air Flying Machines. Frantic, spazzy rock reminiscent of At the Drive-In or Coheed & Cambria; I’m always impressed at dudes who can soar vocal notes like that while pounding through heavy riffs and drums.
I love pop music. I proudly claim the All-American Rejects as fellow Oklahomans, I get down to We the Kings and Boys Like Girls, Snow Patrol are my boys, Gavin Degraw is the man, etc. etc. But it’s really, really hard to do well. That’s why bands appear for one good song, then disappear (Red Jumpsuit Apparatus? Anyone? Eh?). You have to be a genius songwriter or have an outside angle to hook people if you’re going to be in the pop/rock genre.
The Bright Light Motion is a band of good musicians. They write competent tunes that would fit in well on radio. But they don’t have an outside hook (Snow Patrol’s accent, peculiar instruments a la Cake or Yellowcard, theatrical songwriting twists a la Panic! at the Disco, dance beats a la everyone on the radio right now) to set them apart. Their four-song EP For All the Right Reasons passes pleasantly but not impactfully. The best moment comes in the end of “Wither,” where they drop out the guitars and bring in the choir of chanting hipsters, which segues into a neat whoa-o section with a cool synthesizer. They’re tried and true pop tricks, and BLM uses them to good effect. If it ain’t broke…
“Oceans Away” is a mid-tempo headbobber that shows off the vocals but doesn’t push any boundaries. “Love Wakes the Dead” starts off with a nice little riff and a vaguely danceable drum beat, but it crashes back into chord-mashing mode for the chorus and kills whatever momentum the band had built up creatively. The song serves as a sign that The Bright Light Motion has some songwriting chops waiting to be released; they just didn’t get into this EP.
There is not a thing wrong with The Bright Light Motion. The vocals are good, the recording is tight, the songs have melodies to hum, and there’s more than enough charm to go around. But it just doesn’t add up to anything out of the ordinary. And that’s the hardest curse to break.