Four Upcoming Releases to Get Excited About

Now that it is a new year and we have wrapped up the countdown lists for 2016, it is time to get excited for new music to be released in 2017. Below, in order of release, are four albums due out between now and the start of Spring:

Cloud Nothings Life Without Sound 1/27
A little indie-angst to start off the year, this album was previewed with the lead single "Modern Act" as 2016 came to close. It showed off a mastery for a certain sound, one that endures with purposeful balance in the music. Trading Cobain's loud/quiet for busy/simple. There are moments when it is just strumming and signing and there are others when the whole band is on display. It is never so complicated that the melody and hook are lost. "I want a life, that's all I need lately" rings pretty true in a new year.
Also released in anticipation of the album, "Internal World" is a furthering musing on their style and sound. For me, it further intrigues me of this release. I believe that the band is poised to breakthrough with this one. I expect some late-night appearances and three or four singles played on college rock between now and when the next album comes out.

Japandroids Near to the Wild Heart of Life 1/27
Biting guitar, fast drum fills, and lyrics contemplating maturation sung in harmony with a Canadian accent, the third album from Vancouver's Brian King (vocals and guitar) and David Prowse (drums and vocals). Indie darlings whose last release was named in the top ten for 2012, there is a lot of anticipation for this one. Quite appropriately, the lead single title track contains the lyrics "It got me all fired up",  fans and critics alike are excited to see if the duo sticks to their formula that has worked thus far.  The test will be to see if there is still enough there in mixing classic 70's rock n roll style with 80's indie/college rock angst. Maybe spacing out releases five years apart is key. Maybe there is just enough talent between these two. My bet is on the latter.

Ryan Adams Prisoner  2/17
The followup to his 2015 cover album of Taylor Swift's 1989, Adams is back to form of pulling in every influence and sound since 1950. He is still playing rock and he is still singing about love and he is still doing it with the mastery displayed since the beginning, but now as a statesmen of the business, he gets the press and coverage he deserves. Two teaser singles have been released in the last month "Do You Still Love Me?" and "To Be Without You". The former has the classic backing Adams is know for, some strumming and signing, complete with a breakdown for a brief guitar solo. The latter is a little more Neil Young and slowed down. It is an instant head-bobber, foot tapper, perfect for winter's thaw to come. If these two show the range that is to be displayed on Prisoner, we are in for a possible instant classic.

The Shins Heartworms 3/10
The Shins are back and they are weird. Having one previous album and a couple of one-off singles under his belt with this new line-up, James Mercer feels once again comfortable making music as The Shins. In fact, he produced the album and even pens a song to his daughters, "Name for You" which is super sweet and catchy. Mercer seems excited for this release, becoming extremely active on social media and connecting with the fans that have stuck by the band. In fact, the unveiling of "Dead Alive" on Facebook read "Happy Halloween". This album has all the making of welcoming in a time when cone again, it is wonderful to be a fan of The Shins.

 

Top Ten Songs of 2016

10. “Tiny” – Dinosaur Jr.

A little smoother around the edges but just as fuzzy in the middle, this single from Give A Glimpse of What Yer Not”, fits into the sonic landscape of the year and continues the trend of indie Gods getting another chance to add to their canon. This song has all the potential to be treasured by their die-hards and by those just discovering the band. There is still only one J Mascis, who of recent has had his hand in several projects and tribute albums, and he can still move his hands over guitar strings like no other (while pressing down on any number of pedals). Praise is also deserved for how he sings, clear enough to communicate his confusion. The band plays right along and fits nicely. 

9. “Heathens” – Twenty One Pilots

Coming off 2015’s Blurryface, this contribution to the Suicide Squad soundtrack both encapsulated the movie’s mantra and spoke to the aesthetic of the band and its fans. They are a little different than the “mainstream” but they have found commonality amongst each other. Five years from now, we might look back and see this song as the closing of one chapter for the band. Who knows what awaits them and their sonic quest. For now, this is a perfect capturing of the band. 

8.  “Wow”- Beck

Doubling down on the pop motifs also heard in his 2015 release “Dreams”, Beck once again released a single showing off his production knowledge and ability to create in the studio. This time, the tension between indie and pop is lost and instead cohesion of beat takes over. (Both songs are supposedly part of yet to be released album)  This direction could be seen in contrast to his 2014 Album of the Year Morning Phase, yet still it is in the Beck canon of inventive music. Supposedly he was inspired by children to pass it along to the record label.  Call it indie, call it pop, its both and a fun song from the summer. 

7.  “Normal American Kids” – Wilco

Before seeing bands on the landing, Jeff Tweedy spent his summers  “high behind the garden shed” and “Lighting crazed and cracked like an egg.” Not nearly as mellow as other songs on Schmilco (named as homage to Nilsson’s Nilsson Schmilsson) this relaxed album opener already sounds like a Wilco classic and paints with the same nostalgia the band has perfected. Instead of reflecting on sunny days lost, it is innocence mourned, with the backing of the band at its understated best. All of the traces of their talent can be found and lead you into the album. And I am sure for some fans, lead them back to being the most normal they once were.

6.  “No Matter Where We Go”- Whitney

This truly has been a big year for indie-darlings Whitney, landing on several end-of-the-year lists. This up beat, peppy song of affection and adoration sounds like a bumpy back road ride in the “trash heap two seat”. The story could be that of both a 17 year old first learning to drive and a twenty-something trying to have something to drive in today’s economy. An arrangement highlighted by guitar chops, falsetto vocals, and complimentary keyboards, it sounds like both homage to songs past and a possible direction for music to come. We can hope. 

5.  “Best Kept Secret”- Case/Lang/Veirs

A fun sing-along from a formidable super group of sorts consisting of Neko Case, k.d. lang, and Laura Veirs. Any one of these artists could have been capable of releasing this sweet song about someone’s hidden gem, all of their talents come together and their collective mastery really shines. The strings in the background add prominence to the song and show that thought was given to the arrangement. No shock there. This one is destined to be heard on the lower end of the dial for years.

4.  “Wristband” Paul Simon

Thirty years on since Graceland, Simon offers up a meditation on modern life where credentials are key, he highlights his for being ability for being possibly America’s greatest conductor of simply what sounds good. The metaphor for a wristband being the entry to a better life, both on Earth and what comes next (he name drops Saint Peter) flows through a couple of verses and into a chorus. The opening lines about stepping out outside to “breathe some nicotine” and hoping he can “read the screen” while checking his email are updated antidotes from everyday life. In other words, he still got it. 

3.  “33 “God””- Bon Iver

Don’t get fooled by those opening piano strokes, this isn’t dusty Midwest folk found on For Emma, Forever Ago. This isn’t even the big band, large arrangements of the self-titled second release. This is Justin Vernon coming out of the other end of the rabbit hole known as the studio. He brings with him just as much as lament as any of this other songs. There is also a back-up chorus of altered voices and distortion. Still there is beauty in all the unsettling and unorthodox sounds. Like cracked stained glass, his genius and unique touch shine through. Plus the line "I'd be happy as hell if you stayed for tea" is about as sweet as Vernon can get in a song. As sweet as anyone of us can get.

2. “Real Love Baby”- Father John Misty

The most reverend J. Tillman continues his celebration of Love found on 2015’s I Love You, Honeybear with another beautiful reflection on the romantic and sexual and how they come together for a life shared. In Tillman’s case, it is a perfect match “I’m a flower, you’re a bee.” The same can be said for the instrumentation and sentiment. Both subdued and celebratory, it rises and falls, but never too far in either case. Some strumming draws in the listener and soon you are clapping and singing along. The chorus is just fun and for a non-album single holdover, there isn’t much more we could ask for. 

1.  “Casual Pary” Band of Horses

If only 2016 was just a casual party we could have exited at any time and the conversations didn’t have to be so serious. Either way, this is not only the jam of the year, but also the song of the year, giving voice to the delusion of standing there, trying to make sense of what is around you. Why Are You OK” saw a return to form for the group and this one rocks as much “The Great Salt Lake” or “Laredo”. It is both a treat for their loyal fans and an invitation to new ones to get in on the party. It was almost everywhere and ruled the alternative/indie radio ways for a little bit. For me, it was a great mindset for life, it is just a casual party, it will be OK.

 

A Review of Temporary EP by Lost Films

Often unheralded are the benefits of a release being an EP. Chief among them is the ability for the set of songs to seem complete together and operate with a certain strict economy, almost like a short story. And similar to a short story, a good EP is hard to make. Jimmy Hewitt, the man behind the name Lost Films, succeeds in making a great EP with the Temporary EP

The four songs feel like a quick breath or cup of tea. It is a span of time that is passing and you are fully aware of this when you enter it, but that does not mean that it can not be enjoyable or lingering. I have found myself beginning the past two mornings by having to hear the title track, which sets the tone for the listening experience. Yes, the EP will not last that long but a lot can be found throughout the four songs.

Hewitt sings in a manner that requires a couple of listens. Each time, you enjoy re-entering the scene set by sounds (guitar, percussion, etc) that all seem to have a purpose. In particular, listening along to the guitar is very enjoyable. All of the instrumentation helps to accent the emotion and form a very soothing listening experience. Further, with each song, a mastery of making music is exemplified. Upon first listen, I found myself wanting to follow the thread and see the possible range. I now find myself feeling that way about the rest of Lost Films' discography.  

A quick read of the bandcamp article for the EP reveals that this style of making music (one man, many instruments) is Hewitt at his most pure. The outfit has released a full band album, but this approach brings him back to who he is as a musician. I find him to be a part of a budding genre of music that has yet to be named, but includes the like of Day Wave, Beach Fossils, and Surf Rock Is Dead.

All of those names convey summer and I think Lost Films fits in with them both sonically (similar approach to how a guitar can "ring" in a song) but in that shared connection. Summer is certainly a good time to discover lost films. I would say anytime is a good time to discover Lost Films. Even better, the Temporary EP is solid place to start. 

Bandcamp page

The songs:

1. Temporary
2. Assurance
3. Still Youth
4. Closer 

First Listen Review: “PersonA”- Edward Sharpe and the Magnetic Zeros

First Listen Review: “PersonA”- Edward Sharpe and the Magnetic Zeros

If you come into this album, looking for the lost voice of vocalist Jade Castrionos, pretty quickly you call off your search and enjoying this latest offering of indie-folk hippie fun.

Starting off with the seven minute “Hot Coals”, which serves to show off the band in its full form. All of the other unnamed cast of characters who were not called out by Edward Sharpe (Alex Ebert) in previous releases, come together and fill out a sonic landscape, true to the form perfected on the band’s first two releases. Unlike the tracks from the self-titled album/last release, this song seems a little more determined to get in you involved, if not singing along, from the opening chords. It is possible that they wanted to cover all bases left empty by Jade and make up for anything perceived to be lost. Or as they put it on the second song, be a little “uncomfortable.”

“No Love Like Yours”, a piano-driven lead single shines just as much in the context of being a midway point on the album. It is certainly a sing-along song and should be held in the same regard as “Home” or “Dear Believer”. It is the strongest on the album as far as I am concerned and will most likely be the only track to garner some radio play (even if has to be on your favorite college rock or independent station). It celebrates Love, with some clever rhymes and lyrics.

“Wake Up The Sun” is another long-song built on the talents of the whole group and fit well within their canon and feels like an old favorite right away. You will definitely circle back to it after your first listen and might even throw it onto a dinner party playlist. “Free Stuff” was another preview released before the album and has some of the guitar from “Dear Believer” with some thumps from The Lumineers “Ho Hey” (Indie-folk referencing indie-folk is just good for everyone).

The album ends with the understated “Lullaby” and the kind of goofy but purely fun “The Ballad of Yaya”. The former, once again centered on the piano and could serve to gather the band all-around on stage to sing along, the audience joining in as well. As it exists on the album, Alex offers up some thoughts on the life, as always preaching just enough to reach all those who matter.

The latter is hinged upon you not questioning who Yaya is and wanting to hear her(?) story many more times. It has a light atmosphere Donovan would be happy to sing and play along to. Also, wisely chosen horns join in to create that finale feel. A solid choice as the album closer.

I think that the band can live in this space created by this release for a little while. Go on tour, make late-night appearance, maybe a commercial spot or two, but then they should record their follow-up, because as the band stands now, it is not a march led by two leaders up at the front, but as the slash through “Edward Sharpe” on the album sleeves expresses, Alex Ebert has slid back into his band, and everyone and the music is stronger because of it.

18. "Tim"- The Replacements

The Replacements were one of those bands I more knew of before I actually knew their music. I had heard of their songs before actually making the conscious choice to listen to them and bring them into my life. Lucky for me, one of their classics “Left ofthe Dial” crawled its way in via the means of a mix CD given to me at my high school graduation party.

I immediately gravitated towards it and enjoyed the artistic quality to it. It comes across as a strong sampling from something larger. It represented both the music scene from which it came (and spoke to) but also the album that housed it. At the time, I chose to explore the former, not the latter, an exploration that would eventually lead me to buy the album in January of 2014.

I had put it together that this album is in many ways was the climax of the career of The Replacements. The balance between loud and quiet is at its best on this release. It is able to occupy the space between their beginning and their end. In many ways, it is a perfect study of the band.

For my first listen, I actually began with the last track “Here Comes A Regular”. It was one that I must admit took a couple of listens for me to fully appreciate it and be able to insert myself into it. In fact when I first heard of the song, I thought it was a metaphor for normalcy coming into a scene of chaos. I came to discover that it is a lament told from a young person who is still living at home long after he should have moved on. He is the one who stayed in town and never got out. He isn’t glamorizing his life but he isn’t asking for permission either. He is just telling it for what it is. The acoustic guitar drives the point home and the synthesizer in the background is a nice touch. Although I am not someone who will end up spending his days in the local townie bars looking for his buddies to come in, I can certainly relate to the song nonetheless.

“Hold My Life” and “I’ll Buy” come across as songs from the perspective of someone who has just discovered fame and wealth and is at a crossroads. There is this magical, unbelievable story about to unfold and you just want to make sure you can hold onto what you came from, what makes you the person you are. For Paul and company, that was their story at the time. This was their big, critically acclaimed album.

“Kiss Me On TheBus” shows that they can still connect with the life they are leaving behind. I really enjoy its playfulness and I fully plan on signing it to my next muse when we take a bus somewhere. It is just such a fun song that is probably lost to time. Same goes for “Waitress In The Sky”. Who would think to make a song about a stewardess and to almost villainize her?  It is another travel related song that is fun to learn the words and sing along to. It shows that Paul Westerberg can almost write a song about anything. In both cases, I characterize the instrumentation as just enough. The band is present and the playing is original but it is not over the top. The songs are not long either.

One thing in particular on this album that Paul chooses to cover is insecurity. He does it from a position of strength. On “Swingin' Party” he does not sound weak, just clever and because of this, he comes to own his shortcomings. It is also the closest to a Smiths song the band ever made, in Morrissey like lyrics and near jangle-pop guitar playing. “Bastards of Young” is the lost anthem for a generation without a war to name it. I think having a general sense of U.S. cultural history helps to appreciate this song and give it context. I give Paul a lot of credit for writing it, being able to recognize it in his time. Plus it gives the green light for some raw and rough playing from the band, reminiscent of their early days. Just a solid sampling of the band’s strength.  

Returning to “Left of the Dial”, there is just so much in it that stands out. The story of angst and earning told in the lyrics, the masterful playing with a well-placed solo, the deliberate inversion of “playing makeup, wearing guitar”, all come together in a package of classic college rock, forming a standard that will last the test of time.

Overall, I feel it is a complete album. From start to finish I am able to listen and enjoy both the variety in music and cohesiveness in themes. It is on the level that I would buy it for someone and give it to him or her to listen to in its interiority, almost like a book. I am glad to have it on my shelf.

  

19. "Is This It?"- The Strokes

For as long as the other albums on this list have been in my life, this one has only recently entered it. The Strokes were always a band “just outside my radar.” In other words, I listened to and greatly enjoyed bands and artists that sounded like them but I never made the jump to listen to them myself, always knowing that I would most likely highly enjoy them. Over the years, I had heard “Reptilla.” In fact I first came across it at a party in 8^th grade. I wasn’t ready.

In my study of music, I had gathered a sense of the Strokes and the space they occupy as a band. Very similar to The White Stripes, they were heralded as pioneers ahead of their time sonically by borrowing from sounds of the past. Both bands standing out from the rest of the musical landscape of the time and both primarily enjoyed by critics and college students.

This past winter, being slightly past the age of a college student and fancying myself a music critic, I decided it was time to give this highly praised debut a try. I was impressed from the start. I love the gumption to begin an album and a career with the phrase “Is this it?” Instead of an all out showcase of skill and talent that is loud and attention grabbing, Julian and crew are subdued and almost passive. If you as a listener chose to enter in, that’s your call and they will carry on either way. As the last track declares “Take It or Leave It” Needless to say, I walked right in.

I found a collection of songs that are essentially reflections and brief stories from a time in life that I could at last relate to: early adulthood. I know that I would not have been able to relate the songs when I was in high school or even early on in college. Now, on the cusp of 24, I had my share of “Last Night”s so to speak. I also feel like I probably would have looked for more musically from the band when I was younger. The deliberate choice to do less would have been lost on me. I would not have been able to appreciate the tradition that the band enters into with this album.

In so many ways, “Someday” and “Last Night” are instant classics. Both quick and equipped with a catchy chorus fun to both sing and shout, they have infiltrated pop culture and do serve as landmarks to the large album overall. It is hard not to tap along to them with your feet.

Having gotten into this album almost fifteen years after its release, I able to enjoy it in context of the bigger picture. Like I wrote, I can see them standing on the shoulders of the Ramones. I can also hear bands like Rooney and The Bravery taking notes and preparing for their careers to start. It does not have to be this collection of songs serving as contrast to its contemporaries. It just has to sound good. 

20. "The Unforgettable Fire"- U2

I cannot remember exactly when I started listening to this album. Sure, I had heard of U2. In fact, the purchase of “U218 Singles” in 10^th grade was a big moment musically in high school. I listened to that album constantly, enjoying the pop sensibility exercised by the band throughout their career. I heard each track as a testament to the band’s ability to make great music no matter the decade.

I imagine that I first “ripped” this album from a copy belonging to a library. I think it occurred around 2010. I can remember listening to it during the summer of 2011, but I do not know if it started then. I guess along the way I  had absorbed the history of the album and the album's place in the discography of the band and became curious. I pieced together that the album followed three loud albums and that it came right before the big, breakout of “Joshua Tree.” I am sure I liked the idea that possibly it could have been a forgotten album, or at the very least, an overlooked one. For that quality is what I love about a lot of the music from the 80’s that I enjoy i.e. The Smiths and The Replacements.

At some point, it must have clicked, and I found myself drawn in by the opening drums and shimmering guitar of “A Sort of Homecoming.” A track full in instrumentation and Bono vocal range, it runs into the better known “Pride (In The Name ofLove)", which I first enjoyed as a part of the compilation and now hear in the context of the other U.S. themed tracks on the album. Throughout the album are numerous references to recent (at the time) American history and staples of the “American Dream.” Coming from the perspective of an Irish Band in the 80’s, I just find it fascinating that they found it so fascinating.

“Wire” is just fun. There are loud, almost industrial sounds on it. The song seems to pick up pace and slow down at moments. I love the opening lyric “Innocent, and in a sense I am.” I do not use that nearly enough but it shows that Bono can sing and wink at the same time. This playfulness would fully come out during the “Achtung Baby” era. Also, some of the grunts toward the end of the song foreshadow “Bullet The Blue Sky” on the album to come.

The song that is my absolute favorite is the title track. I have taken many a walk at night, during twilight to it, and gotten lost in the sky. I just think the playing on it is so beautiful. It is the kind of performance where I do not feel like I have the musical knowledge to talk about it properly. I won’t pretend to. I can only say that it remains one of my favorite things ever. I will listen to it independent of the album. Each time, the listening experience brings me peace. I feel a swelling of joy. It is something very special to me. I always try to put it on a mix CD or tell a friend about it.

From there on out and the second half of the album especially, the band shows off their ability to be artistically ambient. In many ways, the mood of the title track contains. It is a talent that I feel often is not highlighted enough when it comes to the band. Sure, folks marvel at their beginning, watch as they rise as a band in the late 80’s, only having to then reinvent themselves in the 90’s, redefine touring forever, and then permanently take their place in the hierarchy of modern music. 

For me, this is the period of U2 I feel I would have enjoyed the most if I were alive at the time. I find myself today drawn to a lot of music that sounds very similar. I think a lot of today’s alternative and college rock draws from this album, both consciously and unconsciously.

Ultimately, a lot this album remains a mystery for me. Despite my best attempts, I can never know what it was like to be a fan at the time. I have the knowledge of all that would come next, the full story, not just what happened up until this moment. Also, like I said, I find a lot of the sounds a mystery. I am simply left to allow them to have an affect on me. Much of Bono's singing is also hard to figure out.  And what is up with that album cover? Where does that place exist on Earth? 

All of this is why I come back each time. I am able to engage with the mystery once more, maybe solve some of it, but at the very least, have an enjoyable listening experience.