Posts Tagged ‘Indie Pop’

The Darling Buds: Evergreen

Sunday, July 9th, 2017

Melodic 80s-90s indie-poppers return with fresh sounds

Twenty-five years after their last release, Erotica, this South Wales band returns with their melodic pop intact. Spurred by the positive response to several reunion shows, the band regrouped for this four song EP, with original vocalist Andrea Lewis Jarvis and bassist Chris McDonagh supported by ‘90s-incarnation guitarists Matt Gray and Paul “Chaz” Watkins, and drummer Erik Stams. Released on 10” vinyl and cassette (and for the modern set, digital), the four songs are highlighted by Jarvis’ breezy vocals. The effect is both nostalgic and, amid today’s inhumanely exaggerated autotuning, refreshing. Fans will enjoy hearing the band again, and those looking for a respite from modern chart pop’s mechanization will enjoy the sweetness of Jarvis’ voice, melodies that linger in your head, and the analog sounds of electric guitars, bass and drums. [©2017 Hyperbolium]

The Darling Buds’ Facebook Page

Dutch Barn: About Time EP

Saturday, February 22nd, 2014

DutchBarn_AboutTimeInventively marketed free EP of tuneful fuzz-pop

Dutch Barn is neither Dutch (they’re English) nor a dutch barn (they’re a five-piece pop band), but their new three-song release – two originals and a cover of Tearjerker’s “So Dead” – is both a good record (they call it as a single with two bonus tracks, but you might consider it an EP) and an original piece of marketing. Working with EardrumsPop and illustrator Estelle Morris, the band’s put together a rich digital package that augments the three new recordings (available as either high-quality MP3s or lossless FLAC files) with original cover art and a PDF booklet. The latter includes profiles (of both Dutch Barn and Tearjerker), an interview with the  illustrator, and an inventive band interview in which the group answers questions by composing photos. Musically, Dutch Barn produces the sort of fuzz-heavy pop-rock that first found favor in the early 90s – think Teenage Fanclub and Stereolab – and continues to thrive on Slumberland, spinART and (of course) EarDrumsPop. [©2014 Hyperbolium]

Download About Time
Dutch Barn’s Home Page
EarDrumsPop’s Home Page

The Mountain Goats: All Hail West Texas

Friday, October 25th, 2013

MountainGoats_AllHailWestTexasThe epitome of lo-fi singer-songwriter greatness

Lo-fi can be effective as a chosen aesthetic, waving an aural banner that lays an artist’s money on songs and performances, rather than on production. But that aesthetic is even more powerful when it’s forced upon an artist by circumstance, such as a lack of budget, an inescapable urge to get music on tape and material whose intimacy might be smothered in a recording studio. Such was the case for this 2002 set by singer-songwriter John Darnielle. Recorded through the condenser mic of his trusty Panasonic RX-FT500 boombox, the album is almost purposeful in its throwback to the raw energy of his earlier work. The songs find their personality in personal details (“I am healthy, I am whole, but I have poor impulse control”) rather than their themes of troubled childhoods, misadventures and varying romantic temperatures. The lo-fi acoustics, including background noise from the boombox’s transport, magnify the feel of an artist’s notebook, and with songs that were often recorded within minutes or hours of being written, the performances have the urgency of a diary. Merge’s 2013 reissue was re-mastered from the original 1/4-inch transfers of the boombox tapes, and adds seven contemporaneous pieces from additional cassette sources. [©2013 Hyperbolium]

The Mountain Goats’ Home Page

Wye Oak Covers Brenda Lee for Christmas

Wednesday, December 21st, 2011

An excellent cover of Brenda Lee’s “Christmas Will Be Just Another Lonely Day” by Wye Oak, live in The Onion’s A.V. Club studio.

Sorry for the short commercial in front of the music; that’s how The Onion helps pay the bills.

The Perishers: All These Years

Thursday, November 17th, 2011

Hook-filled guitar-based indie-rock and power-pop

If the Brill Building had lasted into the twenty-first century, one could only hope they’d be turning out pieces of pop perfection like the Perishers’ “Spectre.” The song builds from a lovely guitar riff, gently strummed acoustics and an infectious vocal melody, and by time the drummer kicks in with Hal Blaine’s iconic “Be My Baby” beat, the strums have gained force, the bass line has grown insistent and the guitar solo chimes with simple authority. The song’s lyrics are slight but potent, particularly the line “I have always loved this sound,” a sentiment that will ring in the ears of anyone who loves great pop music. The album makes good on its opening statement, with Who-like moments from the rhythm section on “I’ll Deny” and a variety of rock, indie-pop and vocal harmonies that bring to mind Teenage Fanclub, the Byrds (in their folk-, psych- and country-rock phases), Velvet Crush and other indie- and power-pop favorites. Don’t confuse this London-based quartet with the Swedish alt-rock group of the same name, as their albums are often interspersed in on-line catalogs. [©2011 hyperbolium dot com]

The Perishers’ Home Page

Freelance Whales: Weathervanes

Monday, May 17th, 2010

Lushly instrumented, harmonically sung indie-pop

There’s little to prepare you for the textural mash that makes up this quintet’s music. Mixing guitar, xylophone, and drums with deeply layered vocals and atmospheric harmonium, the band is at once driving and pastoral, dreamy and nightmarish, relaxing and angsty, languorous and jittery. The opening “Generator ^ First Floor” mixes indie pop with rich vocals and… a banjo. The five-string reappears throughout the album, offering mood-setting introductions, and solos lackadaisically plucked against thickly pulsating backgrounds. Stereolab meets the Grand Ol’ Opry. But what sets Freelance Whales apart is the clarity of Judah Dadone’s tenor, feinting towards the tone of teen-pop at times, but offering something deeper amidst the lushly, unusually instrumented arrangements. There’s a great deal of craft here, including deftly engineered recordings and several atmospheric instrumentals, but it’s Dadone’s voice that holds your ear. Well that… and the banjo. [©2010 hyperbolium dot com]

Freelance Whales’ Home Page

Galapaghost: Neptunes

Sunday, May 16th, 2010

Second EP from one-man indie-folk-pop band

Casey Chandler’s follow-up to 2009’s Our Lost Generation finds him once again working alone in his studio, overdubbing his vocals with guitar, ukulele, bass, drums, chimes and layers of falsetto harmonies. He depends less on his uke here, and the results are less wound-up and more contemplative. The opening “Aloner” sounds like one of Chris Bell’s down-tempo numbers, with quiet hints of Clem Snide’s “Moment in the Sun,” and a terrific closing flourish. The tempo picks up to a trot for the strummed country-folk “Beauty of Birds,” the plea “Don’t Go & Break My Heart,” and the Celtic-tinged guitar instrumental “Solemn.” Chandler’s lyrics tend to the poetic as he seems to contemplate isolation, loneliness, malignant behavior and self-preservation. The title track’s synthesizers, rock ‘n’ roll drums, guitars and bass show some interesting versatility, even if the volume provides a startling punctuation mark at the EP’s end. Galapaghost may soon morph into a group, as Chandler’s moving to Austin where his two EPs will serve as calling cards to hopefully like-minded bandmates. [©2010 hyperbolium dot com]

MP3 | Aloner
Galapaghost’s MySpace Page

Galapaghost: Our Lost Generation

Thursday, May 13th, 2010

Enchanting indie-folk-pop one-man band

Galapaghost is multi-instrumentalist Casey Chandler alone with his studio craft (and not to be confused with the Galapaghost Trio). Like most “bands” assembled through overdubbing, there’s a charming insularity born of one set of hands repeatedly tugging on the beat. Chandler’s assemblages are enchanting, particularly how the emotions of his vocals – lead and harmonies – interact with his ukulele. Chandler’s four-string opens the album with harp-like plucked notes before turning to strumming alongside drums, bass and guitar; his vocal slides from note to note like a trombone, punctuated with a few Buddy Holly-styled hiccups. His combination of ukulele and falsetto sidesteps the early twentieth-century vibrato of Tiny Tim, though a few excursions into his top end suggest the delicacy of Art Garfunkel, the brooding of Del Shannon and the bittersweetness of Neil Young. The toy-like tone of the ukulele lends innocence to Chandler’s music, even when his vocals are sorrowful or bereft. The contrast of chipper strings, chimes and tambourine with Chandler’s forlorn vocalizations is emphasized by his productions, thoughtfully layering the instruments and voices, and often introducing them serially as the song builds. Chandler released Our Lost Generation at the end of 2009, and followed with another EP, Neptunes, only a few months later; he’ll soon relocate from upstate New York to Austin where he’ll put together a band. Let’s hope he can guide like-minded musicians to the same magic results he creates by himself in the studio. [©2010 hyperbolium dot com]

MP3 | You’re All I Need
Galapaghost’s MySpace Page

Wye Oak: My Neighbor / My Creator

Thursday, April 22nd, 2010

Atmospheric indie-pop

After releasing their second album, The Knot, just last year, this Baltimore duo returns with a five song EP that adds new dimension to their guitar-and-drums indie-pop. The quiet-loud contrasts, downbeat mood and buried vocals are replaced by a more outgoing tone on the opening “My Neighbor,” a romping waltz that sounds like a modern-rock version of Fragile-era Yes. The quiet/loud is reversed with the hard-charging verse and sedate chorus of “Emmylou,” driven by manic guitars and harmonica that give way in an instant to a cool moment of closing flute; it feels like a television station signing off with the national anthem cutting to a test pattern . Jenn Wasner’s vocals are audible but the lyrics still remain elusive; “I Hope You Die” has moments of aggression in its tone, but also an emotive air of contemplation, so it’s anyone’s guess if the title is hateful, ironic or something else. A closing remix of “That I Do” breaks the original’s mood of measured confrontation with a rap section that feels intrusive. The added layers give these productions a thickness one wouldn’t usually expect from a duo, but there are sparse moments to remind you this is a duet rather than an ensemble – a conversation amid the din of a manufactured crowd. [©2010 hyperbolium dot com]

MP3 | I Hope You Die
Wye Oak’s Home Page
Wye Oak’s MySpace Page

The Layaways: Maybe Next Year

Thursday, December 17th, 2009

Layaways_MaybeNextYearHomemade indie-pop Christmas productions

The Chicago indie-rock trio, The Layaways, have extended their three-song 2006 Christmas EP with seven new tracks. The productions retain the same homemade feel, exuding warmth and a dash of holiday melancholy. The album mixes vocal and instrumental tracks, layering folk-rock harmonies on acoustic guitars, and adding some heavier neo-psych sounds. “Auld Lang Syne” channels the mood of the Long Ryders, while the throbbing bass line and subliminal lead guitar of “Silent Night” suggests the end of a long night of egg nog. The backward guitar of “Away in a Manger” adds a contemplative Eastern tinge, and the album finishes with the short, meditative instrumental raga “Repeating the Sounds of Joy.” This is a sweet treat, deliciously musical without being over baked for mass media consumption. [©2009 hyperbolium dot com]

MP3 | O Christmas Tree
MP3 | Silent Night
The Layaways’ Home Page