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Side Saddle writes warm, comfortable folk music, not just for horseback riding

3 Nov

With the volume of music being created today, it is refreshing to hear an artist that capitalizes on the fundamentals of songwriting. Ian McGuiness released a new folk record this year as Side Saddle, and is forthright and earnest from the outset. As a nod to his hometown, McGuiness calls his album The Astorian, allowing us to feel the upstate New York environment that so moves him.

The album opens up with “When It’s All Done,” a welcoming number. I find myself pulled in with the familiar chord progressions and the crescendoing chorus toward the end. Next up is another strong track, “Halcyon,” and the melodies branch out from there.  The album takes on this satisfying tone, one where I know where the album is going to take me, but I am happy to join Side Saddle on the journey. A journey that concludes with one of the strongest tracks, “Lush.” It starts out as a contemplative ballad, lamenting an old love, until it picks up with driving drum beat. Then enter heavy guitars, anchored by a gentle piano riff. An impressive finale to a solid folk-pop record.

The Astorian is out now. Find more information on Side Saddle’s tumblr.

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This Autumn: One Winter

30 Sep

The seasons are a-changin’. Where you are, you may notice that the heat is subsiding for chillier breezes, and the trees are glowing red and orange as they shed their greenery. Fall will fade into a grey bleak winter, but eventually renews itself in spring. The cycle of the seasons must be beautiful, though I can’t say I’ve ever experienced any of it. After all, I have only lived in parts of south Florida and LA throughout my life. But one day I hope to see snow. One winter. And I’ll be listening to Seán McKenna purr in my ear all the while.

One Winter is a warm story about a colder time in life. Though the subject of the lyrics is not always pleasant, the chords have an upward progression, getting brighter and happier as the songs moves. Take “Katrina.” The chorus morosely echoes, the layers in his voice mirrored by depth of the lyrics themselves. But the bitterness of life should not keep you down. Seán still strives to trust and love, even in the worst of circumstances, when he doesn’t “have a fucking clue,” as in the track “Miles and Miles.” One Winter is a cold night, brightened by a warm embrace.

But wait, there’s more! One Winter is contrasted with One Summer, backed by the full band of Lay Low Moon. It has all the elements of the acoustic collection of One Winter, but I feel that the other instruments almost crowd out the emotional yearning in McKenna’s voice. Both are lovely, but I prefer the lonely and intimate feel of One Winter. Maybe I enjoy it because I don’t have any winter memories of my own. Enjoy it for your own reasons, just be sure to give it a listen.

One Summer and One Winter are available now. Be sure to check out Seán McKenna’s reconstruction of Lay Low Moon tracks in Sorry We’re Closed. And be on the lookout for some new material sometime next year. For any more information on Seán or Lay Low Moon, check out his website.

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Saturdays in a Saturdaze, with Starcadian

28 Sep

I don’t listen to much Asian music. K-pop, baby metal, Bollywood filmi, I just could never get into it- it’s too risky without consequence. Some music was too sweet for my taste, others too bizarre, still others too arrhythmic. But video game music, which is typically an export of Japan, seems to be taking a leap into the mainstream, at least the mainstream of what is indie. The sleek electric guitars meet the howl of a keyboard, and put a proper melody over it- you’ve got yourself a digestible, indie electro track with a lot of pizzazz.

Saturdaze by Starcadian (stylized ST∆RC∆DI∆N) is very similar to this Japanese space rock, though that still wouldn’t quite do it justice. In fact, this EP and the one prior to it, Sunset Blood, are really two soundtracks to a TV series and sci-fi movie, respectively. The show and film are reportedly forthcoming, though both may end up taking the form of fun, almost campy music videos.

The theme of Starcadian’s work is the entire decade of the ’80s. The instrumentation is specifically intended to sound nearly thirty years old, but in an enduring way. The music videos capture the essence of the ’80s, with the fuzzy film reel and the obsession with space. This project also feels very similar to Daft Punk’s film, Interstellar 5555, matched up with their 2001 album, Discovery. I don’t think Starcadian will go that far with the visual aspect, but it would be very entertaining if he does. Though the music is somewhat similar to Daft Punk, I would say the first album that came to mind when I heard Saturdaze was Kavinsky’s debut, OutRun. It is loud and dramatic, and I don’t think anyone would complain if Starcadian got a song placement in a Ryan Gosling film. We all could use a little more Gosling in our lives.

Be on the lookout for the video for “Dance or Die,” coming soon. Saturdaze is out now. For more information, visit Starcadian’s website.

P.S. If you look closely, Starcadian’s mouth in the “Chinatown” clip looks like a certain pouting bastard. Is that you, Jon Snow? You and Hodor must hang out a bunch.

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Sink down into Low Roar’s latest album, 0

24 Sep

I have never wondered what it would be like to be hypnotized. Honestly, to me, hypnosis seems fictional, (and also terrifying, mostly because of that scene from Office Space), but I know that some people swear by it. I do, however, think that it is possible to find yourself in a trance or trance-like state. Music is the only thing that I can think that would trigger this, and the best music for it usually being lo-fi, minimalistic melodies. Low Roar delivers this and more in their latest gripping album, 0.

I have never felt so subconsciously tied to an album. The first time I heard it, I had no idea how to classify it. 0 is extremely compelling with purposeful construction, and is simultaneously methodical and harmonious. The first track, “Breathe In,” is a slow ascension, with lead singer Ryan Karazija cooing in your ear. There are tracks that are intimately dark, such as “Anything You Need,” which has such a deep bass line and a sick-sounding keyboard- and by sick, I mean needs-new-batteries sick. Together the bass and keyboard are haunting, which is how I could emotionally liken most of the rest of the album. My favorite track is “Easy Way Out,” for its chilling guitar screeches. At one point, within the guitar’s echoes, I heard a mosquito buzzing in my ear. It was surreal. Nearly every song fades in or fades out, which is a brilliant yet sensible move; it allows each track to sit with you for at least a few moments before beginning the next. Those are the moments when you are allowed to actively realize how talented this Reykjavik-based quartet is.

I have a lot of respect for Low Roar for choosing the right name. They were very self-aware about their sound, and didn’t choose a name solely on aesthetic. Bands that I think that are guilty of choosing the wrong names:  Vampire Weekend, Sleigh Bells, POP ETC. They should all be, respectively: Vampire Weekend on the Cape, Slay Belles, The Morning Benders. We could probably all come up with fake indie band names for hours, I think there are even generators for that sort of thing. But Low Roar was honest. Their music reflects it.

0 is out now. Find more information about Low Roar on their website.

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Fenech-Soler creates fresh sounds on second LP Rituals

10 Sep

Music can sometimes mess with your emotions. I have heard music that completely alters my mood just after hearing the opening chords. Fenech-Soler, fittingly, has the capacity to do this as well. Their second studio album, Rituals, makes for a great dance soundtrack to everyday life, given life’s daily twists and turns.

 

The sunrise of a fade in that starts the album should get you appropriately pumped for what’s to come. There are as many synths and bass lines as you could want, and I also very much appreciated the steel drums in numbers such as “In Our Blood.” The keyboard creates drama some of the tracks, coming to prominence in “Stonebridge,” the slowest track on the record. The vocals are excited and inspired; paired with the instrumentation, the record becomes infectious and inspiring. The songs vary from lighthearted tunes about falling in love to heavier tracks about losing it. Teenagers will probably label “Lies” as a power electro pop breakup song, because it is perfect the imaginary argument with an ex, shouting “LIES!” in his or her face. (It might catch on with Congressmen as well.) “Two Cities” closes Rituals, doing the whole album prior justice. The song encourages independence, (“We are all that we need!”), before coming to a guitar strum conclusion.

Rituals is out now. Find out more information about Fenech-Soler on their website.

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