Category Archives: Indie Pop
Royal Canoe – Extended Play (Self Released)
Royal Canoe
Extended Play
Self Released
Links:
- Royal Canoe on Bandcamp
- Twitter: @royalcanoe
Another superb band out of Canada, Royal Canoe offers four infectious treasures on their debut American EP titled Extended Play. This unique band doesn’t live by the one genre rule by blending rock, pop and indie into a cacophony of sound and harmony.
The first track, “Hold on to the Metal,” makes me envision that this is the song the world would wake up to in the morning of a long night of restful sleep. With a poppy and perky bubbliness of a percolating coffee pot brewing, the track leads into a rush of rhythm and business of a bustling city heading into the daily grind.
The next song, “Bathtubs,” is a very slow groove with catchy hooks and lyrics with a bit of grittiness provided to the vocals. Followed by the hip yet cool funky fresh beats, amazing surf guitar riffs and harmonic/demonic vocals makes the track “Bloodrush” eerie yet fun to listen too.
However, my favorite song of the EP is “Caught in the Loop.” To me it’s a throwback song to the early ’60s California Surf sound. It paints a scene of sandy beaches, huge waves and beautiful girls dancing in the sunset next to a raging bonfire providing a great finish to an excellent album.
Margot and the Nuclear So and So’s – Rot Gut, Domestic (Mariel Recording Company)
Margot and the Nuclear So and So’s
Rot Gut, Domestic
Mariel Recording Company
Link: Margot and the Nuclear So and So’s Website
I’m not a fan of Margot and the Nuclear So and So’s like I should be. Coming from Indianapolis, I admit a sense of guilt for not studying their songs like a handbook and knowing their music from front to back. Sure I listen to the band and have seen their on-air late night talk show performances whenever I can. I have seen them in sold-out situations, and rightfully so, they deserve to be a break-out band of the Midwest; a John Cougar Mellencamp for the indie scene. This band has been glowing red hot for years.
Then Rot Gut, Domestic comes out and now everything changes. For me, Rot Gut, Domestic is the best I have heard from the band. Where Buzzard had that controlled chaos and clenched fist ethic, this release is an explosion of emotions that stretch wide. It shows the maturity of this band and pulls everything together into an exceptional group of songs.
A refuge for Richard Edwards, Rot Gut, Domestic came about as he was suffering from chronic stomach pains. As a way of recovering, these songs were envisioned about Midwestern fringe characters set to a soundtrack of influential and skewed pop music he was raised on.
The second installment to their “panic pop” series, the songs intro’d by “Disease Tobacco Free,” you feel a more exploratory essence to Edward’s writing. “Books About Trains” takes the ethos of ‘90s alterna-pop and tightens up the style that The Replacements practically created. By “Shannon,” all you want to do is turn it up loud.
The standout song “Prozac Rock” is my least favorite. You have Edwards trying to pull you in with a great rock song while external screamo antics shudder from the hypnosis of this song being great. This album is chock full of songs that are so much better.
“Arvydas Sabonis” is a beast and gives the idea of “Rot Gut” a whole new meaning. But what makes this album great is they can turn around with “Coonskin Cap,” a gentler mystical pop escapism, and it flows right along to the concept of the album.
I may not listen to Margot and the Nuclear So and So’s as much as I should, but Rot Gut, Domestic will make me want to listen more often.
Adam and the Amythests – Flickering Flashlights (Kelp Records)
Adam and the Amethysts
Flickering Flashlights
Kelp Records
Link: Adam and the Amethysts Homepage
The level of psychedelic flavor on Flickering Flashlights starts of moderately interesting, but can be sometimes confusing as to where this band is going. With someone like Elf Power of Neutral Milk Hotel, you know exactly what the band’s intentions are through their music.
The first time I listened through Flickering Flashlights, I didn’t like it. However, after a few more tries, it started making me think of those times being kids. The innocence touched upon on the title track, “Dreaming,” or “The Country.”
I did a lot of camping as a child. My parents took me all across the country. I remember those nights chasing fireflies or watching my marshmallow catch fire, only to shove a crispy on the outside, fluffy on the inside piece of heaven down my throat. Being in the camper and watching the world go by as we drove anywhere we could in the States, it’s a part of me that I will never forget.
This album brings me back to that feeling. “If it seems like I’m dreaming, don’t wake me.” There are times I sit and try to let my childhood engulf me. I took that theory to Flickering Flashlights and tried harder to let this album to engulf me. After every listen, the album feels more robust. I get it.
But when you have so many great songs of wonder, it’s hard to dig into a song like “Gitche Gumee Yeah Yeah,” an homage to Sid and Marty Kroft kitsch. Especially when the song is stuck in middle of a soft and sincere piano number, “Primrose and Pinecones” and the bedroom pop of “Adam Called Me Over Christmas,” which even that song is not as good as many on the album.
So is this album worth it? For some, who still keep the Elephant 6 Collective close by or enjoy light-hearted indie pop like Papas Fritas or Sleepyhead made, then Flickering Flashlights is easier to digest. For others, it may take a while to warm up the songs, but I think you will slowly get there, especially the songs that do stand out like a flickering light.
Dinowalrus – Best Behavior (Old Flame Records)
Dinowalrus
Best Behavior
Old Flame Records
Links:
A far cry from their debut album of ambient noise and lack of lyrics, the New York based Dinowalrus’ sophomoric effort Best Behavior is a more mature blend of indie alt rock mixed with electropop and a flash of brilliant vocals.
It is evident from the first few notes on the splash track “Gift Shop,” that the new direction of the band is one to take notice of for the future. Often referred to as psychedelic dance music, they remind me a bit of the early 90’s Manchester UK artist like The Stone Roses, Happy Mondays and the Charlatans UK. This sound is clearly displayed in a rich and unique blend of vocals and blazing guitar riffs in the next tracks “Phone Home from the Edge” and “Beth Steel.”
The following track “Rico” lead the listener off to a more electropop dance track with a purely techno beat and spacey vocals that very much reminds me of early 80’s new wave. The next song “Twenty Seven Club” is a purely ambient and sporting a beautiful guitar solo in fifty-nine seconds.
The next jam “What Now,” which is by far my most favorite of the album, is a more upbeat tempo with a fast paced and raunchy bass rhythm and rocking guitars. This is followed by the purely synthpop driven “Radical Man,” which is a very solid track as well with dreamy notes and fierce vocals.
Next up is the very Sonic Youth sounding “Burners,” which is another one my favorite songs off the album. Rounding out this stellar disc is the ambient-infused “Riding Eazy,” which also contains a pop rhythm, catchy guitar licks and great vocals.
Brass Tax – Brass Tax (Neurotic Yell)
Brass Tax
Brass Tax
Neurotic Yell
Link: Brass Tax on Bandcamp
Brass Tax looks back to an era when Sha Na Na dominated the television and the girls in The Ronnettes were looking for someone to be their baby. The music on this self-titled album seeks to find the ‘60s girl group allure with punchy rock and powerful pop grooves.
But what Brass Tax does on this album is forced and less than alluring. If garage rock was what was intended, then there is not enough of it. If channeling Dusty Springfield was their intention, they need to study the style a little more.
“And Then It Starts All Over Again” tries to mimic the gritty garage rock with sincere storytelling. And they do, but it’s a song that could use to cut a minute out of as, after a while, it feels like it’s flogging a dead horse.
“I Won’t Cry” is better with a saxophone being a nice touch. It reminds me somewhere between X Ray Spex and The Chantels. When I hear music like this, I want to experience the smoothness of the ‘60s soul. And when I hear “Feel Better,” I want to hate Jada Wagensomer’s voice. But there is something in the roughness that gives out this back country rebellious spirit that I respect who makes me think of a more potent Holly Golightly in her tongue. She belts out these songs two notches too much. There are times when it works and you thank her for her boldness, and there are times when you want to keep moving. The harmonies, as hard as they try, are not as smooth as you want them to be.
“The Buffalo” is a great surrealist experience like when Hope Sandoval spoke of the end of the world like a prophet of inner emotional armageddon. The simple pop of “It’s All The Same To Me” perks you back up with another nice tune. It’s when she keeps her talent within this spectrum is when Brass Tax sounds best.
The grittiness prevails on her album, and the farther they get away from the ‘60s soul fascination, the better this album gets.
