Rarely have I had so much fun listening to a longhear than when listening to Lullatone‘s Thinking about Thursdays. The twee instrumental outfit, already an IC fave, recently compiled their “a song every Thursday in 2016” project into one big album of 52 songs. Their twee instrumentals are brilliant as ever, but their expanded sonic palette is what makes this album so wonderful.
Lullatone excels at making child-like music, turning toy pianos, music boxes, ukuleles, flutes and other small-sounding instruments into delicate and charming tunes (mostly in major keys). Their basic sound is something like The Album Leaf’s tender expansiveness mashed with Wes Anderson’s distinct, precise nostalgia. Openers “trying something again (again)” and “a photograph from the day you were born” stick to this script, creating memorable entries in the Lullatone oeuvre. This type of chipper, bright, clever song appears throughout the album; collectively, they are proof that Lullatone has mastered their craft and yet not exhausted it.
Things get even more exciting as they spread their wings. “how frost grows” signals a widening of their sonic scope, as a slurring, glacial, distorted guitar creates a desolate post-rock landscape. “cooped up at home with a fever and a tape loop” is just that: a hazy, tape hiss-laden fever dream that reminds me of a vocal-less version of The Microphones. “two turn tables and a casiotone” is a fun riff on the titular concept, while follow-on “how i broke my parents’ record player (when i was five)” is even more beat-heavy, landing somewhere between instrumental hip-hop and The Postal Service. “aboard Korean Air flight 742 to Seoul” continues what is ultimately a four-week beat fancy, adding stuttering snares and a melodic hook to a cherubic synth.
Things get even more exciting from there: “puddles full of petals (of Sakura)” combines harp, East Asian melodic ideas, and video game soundtrack drama (one of two back-to-back Asian sonic entries); “father-son adventures” has a jaunty, spry electric guitar line that will please any fan of major key post-rock a la Delicate Steve or Fang Island; “concrete waves” is filtered through a dense, stylish mesh of DJ Shadow. Other referents (real or imagined) include Matt and Kim, klezmer music, elevator music/vaporwave, and chillwave. I won’t spoil all the surprises (there are 52 songs!!), but suffice it to say that this is a great collection with almost no dead weight. Beyond the lovely individual songs, there’s a subtle joy in listening to a whole year of someone’s creation in what seems like chronological order, tracking through the seasons with the moods and titles of each song.
Thinking About Thursdays is that rare release that combines serious composition, thoughtful moods, intriguing instrumentation, quality sonic diversity, and out-and-out fun. It’s an incredible release, and it’s one of my early contenders for album of the year. Highly recommended.
1. “Ich Cetera” – Austin Stahl. There’s not as much instrumental indie-rock in the world as I would like. This entry in the genre is a road-tripping song, a friendly and adventurous little tune underpinned by a stable drumline and guitar strum pattern. The Nick Drake-esque piano line is lovely as well.
2. “Retro Kid” – Retro Kid. “It comes into my head / the need to dance” is the refrain on this sleek, low-slung electro-pop gem. If all electro-dance were as slinky and winding, I might be out at the club more often. (And by the club, I mean “me in my living room, playing electro-pop at full blast”.)
3. “Stuck Between” – Klara Zubonja. An almost overwhelmingly twee introduction opens into an exuberant indie-pop track that’s a cross between the sass of Lily Allen, the coy subtlety of Regina Spektor, and the punchy arrangements of Ingrid Michaelson.
4. “Be Here Now” – Annabelle’s Curse. Genre-busting indie outfit Annabelle’s Curse returns with a song that, well, busts genres. There’s some alt-country, some indie-pop, some grungy indie-rock, and more crammed into this flowing, atypical song structure. Viva la invention.
5. “Pocketknife” – The Anchor Collective. The vocal melodies are front and center in this indie rock track, as not even a crunchy guitar section can take my ear away from the comforting, comfortable melodies that play out over the mostly-dreamy arrangement.
6. “Beth” – Paul Whitacre. Every now and then a song comes along that jumps out of the pack and says, “Listen to me!” This folk-pop tune with country guitar leads is a breath of fresh air in a crowded field, from the lovely melodies to the deft arrangement to the carefully organized lyrics to the immaculate production job. This is top-shelf work, people. Jump on it.
7. “Memorial Day” – Palm Ghosts. Dawes-esque Americana meets REM-style ’90s guitar-rock jangle in the sonic equivalent of a well-worn, trusty jacket. You may not have heard this song before, but it will feel familiar and great as soon as you do.
8. “Rosanna” – Mike Llerena. This song has punk rock vocal tone and melodies, doo-wop rhythms, and alt-country guitar tone. All three of those genres have heart-on-sleeve tendencies, and they’re on full display here in this “sad, spurned lover” lyric set. If you’re into 500 Miles to Memphis, you’ll be all up on this.
9. “Savior’s Hand” – Colin Onderdonk. Powerful vocals and a spartan arrangement consisting almost entirely of rumbling toms and wiry string bass creates a sonic environment that mirrors the lyrics that describe a weary traveler in an ominous, dangerous land.
10. “The Conversation of the Street Lights Will Pass as Quickly as Our Words” – The Bowling Alley Sound. This stuttering, wide-eyed, major-key post rock tune includes burbling guitars, soaring bass work, evocative (and high quality) found sound / spoken word clips, and a delightful sense of motion through the whole piece. Fans of The Album Leaf, Delicate Steve, Adebisi Shank, and other major-key post-rock will find much to love in this.
11. “The Naked Mind” – Ryan Svendsen. I’ve never heard a piece composed entirely of looped, layered trumpet lines and percussion. The trumpet is naturally an instrument prone to brash melodies, long melodic runs, and alternation between mellow and sharp tones, and all of that is on display here. There’s a hypnotic groove to the piece through the repetition of the theme that is only increased by the eruption of the percussion partway through. Adventurous listeners: rejoice!
12. “Himalaya” – Klangriket. By including lots of atmospheric, foley-type sounds, this song becomes both a minimalist soundtrack and the movie it is scoring. It’s a distinct, unique, very adventurous sonic experience that blends classical, post-rock, found sound, and soundtracks together.
1. “The Adventures of Prince Achmed” – Morricone Youth. This wild, expansive piece grabs from a wide array of movie soundtrack, traditional, and current indie-rock influences as part of a soundtrack for Lotte Reiniger’s 1926 German animated silent film of the same name. (The film is the oldest known surviving animated film.) It’s the sort of genre-defying, eclectic, intensely unique music that doubles as a “stump the music journalist” game.
2. “Cumulus” – Koltbach. This is straight-up what trip-hop sounds like in 2016. The stark, staccato beats, the dusky mood, and the lush piano all hearken back to early trip-hop. The burbling, zippy synths update the sound pleasantly. This is solid, impressive work.
3. “Rattlesnake No. 3” – The Aquaerials. Thundering piano low-end commands my attention pretty thoroughly, and this high-drama instrumental piece has it in spades. Some pad synths play in for atmosphere, but this one’s all about the piano.
4. “Vi 1” – DYLDO. A cascading, woozy bit of piano and violin, like a quartet on psychedelics. It’s a bit of a disorienting piece–it feels like something familiar hidden in the waves, but the modulations make it uniquely other. Fascinating.
5. “Anillo delicado encantado” – Jorge Segovia. A playful, quirky piece from Segovia that sounds at the beginning like the sort of work you might find in the adventuring segments of an RPG (Final Fantasy came to mind first, then Zelda), but it rapidly transitions into a lusher, fuller section and back out. There’s a lot going on in this short piece, which is what makes it such fun to listen to.
6. “Slooshy Klang” – Niles Cooper. Not actually slooshy or clangy, this piano-and-violin work is a sort of deconstructed Carly Comando piece, as a pulsing, pressing lead melody gets anxiety and breaks up into staccato parts. The violin just adds to the air of uncertainty. It’s the sort of thing that appears at the nadir of a protagonist’s arc in movies: really sad, in a majestic sort of way.
7. “Rain” – Frode-5. Not too long, not too short, this solo piano piece sets up a pensive mood, inhabits it, and lets it fade off into the distance. Restraint is key here, and overall the piece works wonderfully.
After a long, slow climb, Jason Isbell has hit the burners: five years ago I saw him in a dive bar in Auburn, Ala., and just last month I declined to see him again in a 2700+ person venue in Durham. He has officially made it. If you’re looking for your next up-and-coming dive bar Americana champion, I volunteer Edward David Anderson. Anderson’s Lower Alabama: The Loxley Sessionsdoes everything you want an Americana record to do and then some.
Americana starts with the voice, and Anderson’s is great: a smooth, comfortable tenor delivered just right. His melodies fit in between Isbell’s gravitas and Nathaniel Rateliff’s infectious enthusiasm (see “Silverhill” for more on that idea). The tunes surrounding the vocals are spartan and carefully arranged to not clutter anything: there’s not much you can do to help a melody so pure as “Cried My Eyes Dry,” so the band backs off and lets Anderson sing it. This is their approach almost everywhere, except for the hustlin’ crime tale “Jimmy & Bob & Jack” that’s closer to a rock arrangement than anything else here. And it’s the right approach, because Anderson himself is the centerpiece, whether he’s singing over a gently rolling banjo in “Hidin’ at the Hollow” or leading the back porch picker “Sadness” (surprisingly cheery). The songwriting is just right there.
Lower Alabama: The Loxley Sessions offers up spot-on vocals-centric Americana songwriting. It does its thing and does it well. If you’re looking for more Southern songwriting pathos in your life, here’s to Edward David Anderson.
Archie’s EP by Aryl Barkley is an intimate release that combines the intense focus and breathy vocals of Elliott Smith with the fingerpicking of early Iron and Wine. “High on Inhibition” is a tune right out of Sam Beam’s wheelhouse, a tender major-key rumination on the past. The fingerpicking is just lovely, fitting beautifully with the whispered vocals. The minor key and gentle strumming of “Inside the Playhouse” speak Smith’s language, pondering something heavy without ever becoming heavy itself. “Two of the Ten Best” closes the three-song EP with a tune which includes ghostly background vocals over minor-key fingerpicking, something like a mash-up of the two previous tunes into something that starts to point toward his unique strengths. The ghost of Bon Iver holds out somewhere in the distance, but this last track is where Aryl Barkley really starts to put his name out there. I look forward to hearing more from this Aussie.
Haleiwa‘s Palm Trees of the Subarcticcombines acoustic guitar, Scandinavian dream-pop, and the occasional post-rock touch to create songs that feel bright, fresh, and cinematic.
The trick is that they’re cinematic in a low-key, indie-movie type way, not is a surging melodrama sort of way: “Wall of Blue Sky” feels like a pensive roadtrip scene, while the quiet expansiveness of standout “Seals and Sharks” points more in the direction of the “personal revelation” scene. The blend of acoustic instruments, electronic sounds, and live drumming is arranged and mixed perfectly, creating warm pieces that feel effortlessly pulled off. Just check out the title track or “The World Beyond” for a seamless melding. “All Sparked” focuses more on a flowing acoustic guitar line, which makes the song one of my personal favorites.
Haleiwa’s unique blend of sounds puts it in the same league as The Album Leaf, Teen Daze, and Grandaddy, but different from each of those. Palm Trees of the Subarctic is an exciting work that should be celebrated.
Candysound‘s Past Lives is the sort of garage rock that seems born of good-natured experimentation, a genuine sense of joy in creation, and a dedication to writing catchy songs. This isn’t four-on-the-floor chord mashing–the trio makes lithe, lively, effervescent tracks full of rhythmic, melodic, and textural diversity.
I’m getting all adjective-y on it, but that’s because “Be Around” is a gleeful whirlwind, “Details” is all yelpy and groove-laden, and the title track is a mini math-rock tune. Closer “This Place” is a beautiful acoustic tune in the vein of Rocky Votolato and other even-handed tale-spinners. All of the tunes have a fresh, slightly gritty sheen about them, the sort of vibe that is confident but not super-invested in polishing every sound to its poppy ultimate. This feels like a document, not like a presentation: it’s the sort of indie-pop-rock that makes me want to hear more of it, maybe even write some myself. If you’re excited by a quirky melody and a yelpy vocal hook, Candysound should tickle your ears quite well. Here’s to that. Highly recommended.
I knew this day was coming, both for me and for the indie-rock world. Andrew Skeet‘s Finding Time can be described as a delicate post-rock album that fits in next to The Album Leaf and the soundtrack work of Sleeping at Last or as an engaging work of post-minimalist modern classical music (it’s being put out on Sony Classical). Much alt-classical music has been made, but this is the first time it’s fit so neatly for me inside the music-listening frameworks I’ve already cultivated. My listening habits have been moving toward the classical, since my discovery of John Luther Adams’ Become Ocean and Philip Glass’s work, and now the loop has closed. It’s all one continuous line for me now.
And why shouldn’t it be? The keening repetition that opens “Passing Phase” calls to mind Philip Glass’s Glassworks, while the slow-moving elegy it morphs into is reminiscent of Sigur Ros’s work. “Reflect” is nearly ambient in its pacing; the sharp, brittle, electronic dissonance of “The Unforgiving Minute” would make Modest Mouse proud. The two worlds collide here, at least from my frame of reference. “Taking Off” and “Stop the Clock” feel more traditionally classical, with the latter’s nearly baroque flurry of keyed notes and the former’s heavy reliance on cello and violin. There are moments even in the aforementioned pieces that skew towards traditional sounds, like “The Unforgiving Minute,” but overall this is an album that can be appreciated both by the modern classical music enthusiast and the post-rock one.
Andrew Skeet’s Finding Time is an engaging, enigmatic, comforting and challenging listen. It has kept me company on long slogs of reading (particularly the electronics-laden title track) and warm afternoons. It’s just really impressive, regardless of what you call it.
Like many people my age, my first introduction to the sounds of Armenian music was through the melodic structures that System of a Down fused to its already-wild metal song structures. Since then, those sounds (along with associated gypsy, Balkan, and Eastern European elements) have been floating around in my brain. Izam Anav by Vana Mazi puts those sounds squarely on the forefront on my brain once again, as the album features gypsy sounds played earnestly and enthusiastically.
With so much cultural weight surrounding sounds of this variety, it’s refreshing to hear the Austin-based outfit play their songs without theatrical bravado (a la Gogol Bordello) or overtly ominous vibes. These tunes, instead, feel like an tasteful interpretation of a long tradition. “Jove Malaj Mome” marries a complex percussion pattern with an intricate instrumental melody from the accordion and fiddle. The male and female vocals double the melody, creating a dramatic vibe without resorting to tricks. It’s just all right there, written in. If you start to sway your hips unintentionally, don’t say I didn’t warn you.
That call to dance is another distinctive element of Vana Mazi’s work: the songs here are miles away from dance rock or electronic music, yet they very distinctly beg to be moved to. It’s hard to deny the rumbling, percussive energy of “Don Pizzica”; the sultry, inviting “Celo Skopje”; and the major key perkiness of “Tarantella Del Gargano.” This ain’t an indie-rock show–crossed arms aren’t going to cut it. The most serious of the tunes here is “Fireflies,” which heavily draws on the ominous, quixotic Armenian vibe that System of a Down mined; the rest are more like “Sandansko Horo,” whose titular element is a Bulgarian folk dance. Eastern European music buffs, adventurous musical types, or fans of interactive live shows (their press assures me of what seems to be inevitable true: these shows are a party) should rush in the direction of Izam Anav. While dancing.
1. “Muscle Memory” – Laura and Greg. Do you miss the Weepies? Laura and Greg’s precise, delicate picking and close harmonies are augmented by just the right amount of indie affectation to end up with a totally charming outcome. This is sort of song that sticks in your brain and doesn’t let go. I can’t wait to hear where they go from here.
2. “Promised Myself” – Kylie Odetta. There’s an “towering pop vocals” button in my soul, and it doesn’t get pushed by Adele that often (come on, 25!). Kylie Odetta writes those torchy, piano-led dramatic tunes and backs them up with soulful, belting vocals. (The video is an unusual mashup of the “’80s pop star in empty building” trope and Odetta hanging out in a coffeeshop; welcome to 2015.)
3. “The Secret” – Sam Joole. Joole’s got the old-school piano ballad down, and his tender, gentle vocals sell the tune beautifully.
4. “Memoria No. 1” – The Greatest Hoax. TGH offers up more downtempo ambient, but this time with a more electronic bent. More Album Leaf, less Ólöf Arnalds, all chill and wonderful.
5. “Stormy Grey Eyes” – Knitted Cap Club. Meagan Zahora of KCC pushes the “dusky, cabaret dramatic vocals” button, which is right next to the “towering pop vocals” button. This could have been written in the 1920s, which I feel is a major compliment if you’re going to be in this genre.
6. “Four Sisters Part One” – Lowland Hum. This one’s a duet, but the female vocals are no less arresting for being lead by a tenor vocalist. The intimate harmonies on the phrase “use your voice” couldn’t be more perfect in this acoustic tune.
7. “In the During of a Moment” – The Lowest Pair. This duet is lead by the female alto vocalist, with the man chiming in on harmonies. It’s a stark, hushed recording that seems like it could be happening just behind you; the room reverb warms up the whole performance and fits perfectly with the tune.
8. “Hands and Feet” – Lowlands. Vintage rock’n’roll music has been getting a lot of love recently: the ’50s rock vibes here are cut by modern indie-pop melodies in the chorus. It’s an appealing mix. (And yes, I put Lowland Hum, Lowlands and The Lowest Pair in the same mix because seriously how often does that happen?)
9. “Let It Burn” – Magic Giant. MG’s new single is just as hooky, infectious, and enthusiastic as their previous rave-folk tunes. It doesn’t seem like dance music and folk-pop could come together so perfectly, but that’s why you listen to music, right? It always surprises.
1. “Flare Gun” – In Tall Buildings. Like a more perky Album Leaf + chillwave-y, lightly reverbed vocals. I’m totally digging this upbeat, pleasant work.
2. “Hey Blood” – Born Joy Dead. You won’t be able to figure out this wild, careening rock track by listening to a fragment: this one’s a whole experience.
3. “Sophie So” – Hippo Campus. Put everything we know about indie-rock in 2014 into a blender and put it on frappe: out comes Hippo Campus. This joyous, entertaining track is fun on its own, or as a game of “spot the influence.” The overall track has its own vibe, so this isn’t a knock: on the contrary, it shows good musical knowledge. IN OTHER WORDS: YES YES YES.
4. “Picture Picture” – Tall Tall Trees. Kishi Bashi is on this track, which means it’s a complex, giddy, post-everything pop track that is absolutely, totally fun.
5. “It’s Not the Same” – ET Anderson. Some psych is all up in your face with bright flashing colors. Anderson’s psych creeps in around the edges of your vision and makes things slowly more chill and weird.
6. “For the Sun” – Close Talker. Complexity is at its best when it’s present enough to impress but not so obvious that it’s ostentatious. Close Talker’s winding, moody, Bloc Party-esque indie-rock has the best sort of complexity going on.
7. “Chinese Trees” – Lake Malawi. Sometimes you just want a big, happy pop song.
8. “All I Really Want” – The Plastics. I don’t know where we acquired the sky-high male backing vocal as a style, but it’s here to stay. Some nice mid-tempo, mid-’00s indie-rock vibes goin’ on here.
9. “Left, Right, Left” – 12KO. Lake Street Dive is on the forefront of the upbeat neo-soul/jazz movement, and 12KO fits right in there. There’s a bit of funk influence, but generally, this one’s a upbeat, fun, head-bobbin’ tune.
10. “Anthem” – The Maytags. Who doesn’t need some chipper, enthusiastic neo-soul in their life? Boogie down on this.
5. “Girls” – Slow Magic. Chillwave meets The Album Leaf meets Pogo. I APPROVE.
6. “Run Run Run” – Jenny Scheinman. Scheinman has a strong voice and a deft Americana songwriting touch. You won’t be able to ignore Scheinman much longer.
7. “Black Crow” – Juliette Jules. A voice mature beyond her years, songwriting beautiful beyond expectations, and production of excellent quality: Jules has everything working for her on this gorgeous, tender track.
8. “Wedding Day” – Anand Wilder and Maxwell Kardon. The lyrics grabbed me by the throat, and the folky/celebratory arrangement kept me involved. This is an impressive tune.
9. “Green Eyes” – Cancellieri. Originally by Coldplay, Cancellieri strips some of the pop sheen from this and gives it a romantic intimacy befitting the gorgeous lyrics.
10. “Is What It Is” – She Keeps Bees. This female-fronted singer/songwriter track is stately, composed, and elegant without becoming icy or distant. SKB creates great atmosphere here.
11. “Confederate Burial” – Snowblind Traveler. Snowblind Traveler matches up the icy arrangements of For Emma and the traditional melodies of old-school Americana to great effect.
12. “Blue Valentine” – Bloom. If you’re a fan of the sad but not hopeless sound that Pedro the Lion made, Bloom will scratch your itch for it with this beautiful track.
13. “Hold on to Your Breath” – Sleepy Tea. These Aussies live up to their name with a relaxing, refreshing vibe reminiscent of a slightly more energetic Parachutes-era Coldplay. Just a beautiful track.
When you’ve been in music for a while, nuance and subtlety become more important to you. This is true for listeners and creators; although I can still appreciate a mighty guitar riff, I find myself entranced by complex lyrical turns and less obvious arrangements. Tri-State is a band composed of people who have been in bands, and you can tell from the songs they write. These pop-rock tunes, while poppy, are not constructed as instant hits. These are measured tunes, tunes that take their time on little guitar bits (“All Different,” “Back Before”) just because. This unhurried, “let’s give this some space” method is much like that of IC fave The Brixton Riot.
Tri-State’s tunes unfold in pleasing ways: “Back Before” creates an ominous mood that builds and builds, while follow-up “Country Squire” toes the line between pop-rock and alt-country. It doesn’t feel disjointed at all; the songs feel like outworkings of the same thought process. If you’re into ’90s indie-rock (Pavement, Guided by Voices) or mature songwriting that appreciates with multiple listens, you should give Tri-State’s self-titled EP a spin.
Kira Velella‘s gentle voice is the primary feature of her singer/songwriter tunes, and for good reason. Her second soprano/alto voice commands the arrangements, sucking the listener in. “Lover, Move” and “Barn Swallow” both feature strong instrumental songwriting that is totally eclipsed by the endearing confidence of Velella’s voice. She accomplishes the rare feat of encapsulating confidence and vulnerability in a single performance, which keeps me coming back to the tunes.
This uncommon tension buoys the six-song Daughter EP, making it consistently interesting to the invested listener. The wintry arrangements accomplish a second improbable feat: the Damien Jurado-esque characteristic of feeling both lush and sparse at the same time. It gives Velella’s vocals both the forefront and a space to inhabit; it is easy to imagine Velella in a video clip of a snow-covered field for any of these tracks. The mood here is strong throughout tunes, giving a polish to the release. All told, this is an impressive debut offering from Kira Velella.
Categories can be stultifying and abrasive, but they are helpful starting points for conversation. Saying that U137 plays post-rock is mildly helpful to get the conversation started, but saying that the band plays “pretty” post-rock (Moonlit Sailor, Dorena, The Album Leaf) instead of “heavy” post-rock (Godspeed You! Black Emperor, Isis, Tyranny is Tyranny) is far more descriptive. You’re going to hear a lot of arpeggios, humongous crescendoes to jubilant melodies, and ethereal synths in Dreamer on the Run. If you’re into that, then the 40 or so minutes you spend listening will be breathtaking.
It’s not the sort of album where one particular track sticks out: it’s simply a forty-minute excursion into a beautiful section of the world. If you’re feeling down about the government shutdown, gun violence, poverty, or any other modern malaise, Dreamer on the Run can help you forget that for a few minutes and remember that there are so many beautiful things in the world to comfort you. This, simply put, is a gorgeous record.
I love alliteration, so here’s some of that in this mix of MP3s.
Acoustic April Mix
1. “Honeycomb Heart” – True Gents. A magnificent chorus powers this indie-folk tune from a unique Scottish outfit.
2. “Leave Me Where I Want to Be” – Safe Haven. Front-porch intimacy flows through this combination of New Orleans jazz and Appalachian Americana.
3. “Grew Up Here” – The End of America. Appalachian harmony and a rootsy instrumental arrangement make this an irresistible nugget.
4. “Maybe It’s Best” – Justin Heron. Shuffle snare, bright guitar tone, and whispery vocals? Yup, I’m in.
5. “Sharks!” – Common Shiner. This band’s website is SayNoToBadPop.com. That’s awesome. Their acoustic-fronted power-pop echoes Something Corporate and Motion City Soundtrack.
6. “Pretty Face” – Among Giants. I love the vocals here: raw, passionate, and real.
7. “Playing Pretend” – Joshua Steven Ling. The deeply saddening passing of Jason Molina has gotten me back into slow-moving, quiet, morose recordings and their particular type of beauty.
8. “The Lionness” – OfeliaDorme. On that note, here’s a beautiful cover of my favorite Jason Molina song.
9. “Myopic” – Jura. Transcendent beauty that invokes The Album Leaf’s sense of patience.
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.