Tag Archives: Indie

Headphones, Poplar Trees, and Adam Brock

13 Jan

adam-brock-music-headphones-profile

In the liner notes of his summer 2013 EP, Adam Brock writes “Everyone finds solace in song, regardless of age and circumstance. I hope this music serves that purpose for some.” Keen statement from the young musician from Oregon. Brock, a multi-instrumentalist with a sensational ear for melody, is the best kept secret in the Pacific Northwest. Heck, he may be the best kept secret along the entire Western coastline. With a whispery vocal that he skillfully layers to the euphonious instruments that he plays, Brock is the sweetest sound in Indie that you are not listening to … but will be soon.

I know I lay down a lot of praise on this blog, but I know when I should particularly highlight an artist. Brock is that artist. He is also humble and unassuming, which is a major plus in my eyes. This is a dude who not only knows music but also puts time and effort into perfecting the intricacies of his tunes. His small selection of music from last year was quite impressive, and it is all available on his Bandcamp for free, so I totally suggest checking it out.

“Poplar Trees” is from his 3-track release in January of last year. The first 30 seconds are a bit deceiving because Brock immediately provides this mystical vocal track that sounds like other Pacific Northwest bands like Fleet Foxes. This, of course, is not a bad thing, for I am a bigger fan of folk harmonies than most, but it is not Brock’s predominant sound. The consequent electric percussion and keys is more of Brock’s scene, and oh my does he sound like a young Death Cab for Cutie, does he not? The early 2000s Indie Pop bleeds from the song. Then, the bottom falls out of it and the song is carried by a halcyon picked guitar and Brock’s sweet voice. It is as the ultimate blend, and it is done masterfully.

“Headphones,” released in June, also maintains that Ben Gibbard sound (almost a minimalistic Postal Service). There is also some Bright Eyes and the Shins thrown in for good measure. Brock knows what he is doing. In this piece he even adds a Velvet Underground-like string section (cello, viola, violin). Honestly (and why would I lie), Brock’s music is excellent. He displays ability far beyond his years. There is only one question I can ask: why is he not touring the U.S.? Let’s make Adam Brock more known.

Check out his Facebook and Website.

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Holding on For Life After the Disco

28 Nov

Broken Bells

When James Mercer (of the Shins) and Brian Burton (Danger Mouse) first collaborated in 2010, the duo created a fresh, Indie album under the moniker Broken Bells. The album not only saw huge commercial success, but also it depicted the seamless collaboration between acoustic and electronic sounds. “The High Road,” the first single off of the band’s debut, is a quintessential example of the “melodic” and “experimental” sounds the band produces. Here is a live version of “The High Road” for your eager ears.

Flash forward to 2013 and the dangerous shins are at again with the release of a new single, “Holding On for Life,” which will appear on their new album After the Disco in early January, 2014. In what I presume will be an early album of the year candidate, After the Disco, if “Holding on For Life” is any indication, will feature a more natural amalgamation of the complementary styles of Mercer and Burton. Listeners can look forward to an even more comprehensive mixture of sound. Let’s listen to the first single.

If the cover of the album and trippy opening suggests anything, it is that we have slipped the surly bonds of Earth and entered into some psychedelic, Van Gogh-like space dreamscape. And, in typical Broken Bells fashion, the music suits the scenery. Mercer’s skilled vocal is carried by a strummed acoustic that sits over spacey electronics and segmented percussion. At 50 seconds, though, Broken Bells transforms into the disco. In what we English nerds can best term allegorical, Broken Bells turns into the Bee Gees, and it is bloody awesome. It is short, but the call-back is skillful. It’s an excellent single from a band that just continues to prove its creativity in what often is a dry musical landscape

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Teling Buffalo Tales in Amsterdam

24 Sep

Buffalo-Tales

Wes Carr is getting back to his folk roots. After winning the sixth season of Australian Idol in 2008 and charting #2 in Australia with The Way The World Looks, his second album (first with a label), Carr started a new project that allowed him to focus his musical production on acoustic pastoral melodies and his singer/songwriter foundations. Making music under the moniker Buffalo Tales, Carr recently released his third studio album, Roadtrip Confessions, which takes listeners on a rich, bucolic journey of savory vocals and lulling rhythms.

Carr’s true strength as an artist is as a storyteller. Like a more effervescent Iron & Wine, Carr plugs through each song on Roadtrip Confessions, navigating listeners through woven personal tales. It is a joy to enter the musical world of Carr, and it should come to no surprise that he came upon the nickname Buffalo Tales, an image that evokes stories of idyllic plains.

The video for “Amsterdam,” the lead single off the album, is a reflection of Carr’s melodic candor; the song flows naturally and effectively. Injected with an acoustic rhythm much like a strummed Tallest Man on Earth piece, “Amsterdam” is carried with a rhythmic power and vocal vitality. The energy is refreshing. The harmonies give the piece an Indie/Folk quality and add to its strength.

Yes, this is a unique cover of Rihanna’s “Diamonds.” It is subdued and personal. In that sense it almost reminds me of the “Hey Ya” cover by Obadiah Parker, but Carr’s cover is carried with a quiet potency that is both emotional and sweet. Perhaps my favorite part of the cover is that Carr holds back. He can flat-out sing, but instead of overwhelming the cover, he remains tranquil and almost melancholic.

Check out more of Buffalo Tales – Website, Facebook, Twitter .

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Celebrate the Racoon Wedding

16 Sep

Racoon Dead on the Side of the Road

Add one more notch on Brantford, Ontario’s belt. The city is the birthplace of Wayne Gretzky and Phil Hartman, and it is where Alexander Graham Bell invented the telephone. It also houses the six members of the rising Indie/Rock band Racoon Wedding.  Racoon can be spelled with one C or two. I thought I’d obviate the spelling lesson.

Racoon Wedding is the music equivalent of what I would expect a raccoon wedding to be like: electric eccentricity, amicable drunkenness, poppy humor, and, most importantly, horn-fueled raccoon love. So, yeah, that odd comparison holds true for the sextet from telephone city.

Come tomorrow with the release of the new LP, Racoon Dead on the Side of the Road, the band will have successfully depicted the joy of raccoon passion and friendship (which the name of the band implies) and the harsh inevitability of death at the hand of a metal box traveling at speeds no raccoon can match. Who knew that they were a concept band?

All kidding aside, I’ve grown attached to the bluesy, Dr. Dog/Kay Kay and the Weathered Underground quirkiness and musical whimsicality of Racoon Wedding. With some bands (and I could feel this prior to watching the buddy/buddy bacchanal video below), you just know that friends are making music. And not like friends until some success presents itself and then “I’m going solo” becomes an overplayed comment. Friends who are friends who happen to make good music and have fun doing it. This comes through in the tunes, and it is one heck of a positive with Racoon Wedding.

The band is haphazardly touring throughout Ontario, but I do hope this post helps give them some more play in the States. Fraternal harmonies, New Orleans horns, and pop rhythms, when mixed effectively tend to engender popularity, and I predict good things for Racoon Wedding in the future.

The opening piano riff plays like a more bluesy version of a Jukebox the Ghost piece. The lead vocal is course-grained with a hint of southern cooking. The harmonies come from all angles and are extremely effective. Throw in some drunken horns (in the best possible way) and a taste of jazz/ragtime/period drums and you have a great song. Make sure to check out the rest of the album. Here is some information

Facebook, Website

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N8 ST9 Has Come Full Circle

28 Aug

N8 ST9

N8 ST9 (Nate Stein) has been on my radar for some time. The post-electronic artist mixes skilled instrumentation with dreamy electronica to create a delicate sound that, while heavy on the electronic percussion, is harmonious. Now, on the heels of his new album Full Circle, I believe it is a good time to introduce him to the readers of this blog. This aforementioned mixture is musically intriguing.

Perhaps most engaging about the new album is its vibe. Electronica and instrumentals sometimes conflict when haphazardly paired together, but N8 ST9 combines the two elements competently, thus creating a cool, euphonic atmosphere that surrounds the listener. The album is split between pure electronic instrumentals (like the two reviewed below) and pop-fueled tracks like “Light Up Myself,” which ST9 wrote for a close friend who is a recovering alcoholic.

Aside from the imprecation outburst to begin the song, “Light Up Myself” is a diverse song that has three distinct parts. The song begins with an ethereal guitar riff that transitions into a Paul Simon-esque verse with creative percussion, which continues even when the song shifts to a modern Indie rhythm. In only two minutes the song effortlessly shifts back and forth from different musical elements and inspirations. This is just accentuated towards the end of the song with the airy piano bridge fit with melodious vocalization. ST9 takes listeners through a musical parade, successfully evoking the ups and downs of his friend’s life.

The above two tracks are the diverse instrumentals I mentioned. “Intention for Bliss,” the opening track on the album, features the fluffy keys reminiscent of an Owl City song. “Watching” features more driving electronica (something I don’t usually go for). In this case, though, I am lured by the 80s beats that blend well with the melody ST9 successfully introduces to the listener.

It’s an impressive release for the young artist, and I am looking forward to listening to more of his music.

Check out the rest of the album and follow ST9 on his Facebook and Twitter

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