Adeline Hotel – Whodunnit

Ruination Record Co.

“There’s always a strange combination of continuity and change within a new album from Adeline Hotel. Each record building upon what came before it while often in some respects also turning away to chart new ground. As though the project exists as a kind of world of its own, and the function of each release is to bring us a view of a different corner. Adeline Hotel as a vast space we’re discovering album by album, song by song, with Dan Knishkowy not so much engineering the experience as leading the way. This exploratory spirit is central to Whodunnit […] an album following a tradition which lists the likes of Gillian Welch, Neil Young and Van Morrison among its practitioners. Songs as a form of stream of consciousness, not only in terms of lyrics but the very sound itself. The sense of having tapped into some wellspring of movement or momentum and choosing to lean into the flow.” [Review]

Advance Base – Horrible Occurrences

Run For Cover / Orindal Records

“For while the setting is entirely imaginary, the narratives and characters owe much to real life. Indeed the killer [of ‘The Year I Lived in Richmond’] is inspired by an analogous figure who stalked a place Advance Base‘s Own Ashworth once called home, fictionalised to create some sense of distance and decency. If Horrible Occurrences can be distilled into one reductive image, then that is perhaps the most enlightening. A receptacle into which bad memories and old stories can be poured. A small town diorama in which they can play out again, change shapes, take on lives of their own. One we might approach and watch over along with Ashworth, feeling tall from that perspective, relatively safe in the top-down view.” [Review]

Anne Malin – Strange Power!

Dear Life Records

Released in tandem book-length poem What Floods under the name AM Ringwalt, Anne Malin‘s Strange Power! is an album which explores “how nature and its inherent motion might possess the key to the process of healing in the aftermath of trauma and loss,” as we wrote earlier in the year. Something which possesses a palpable momentum yet no clear conclusion. In other hands, this lack of answers or endings might be held up as the tragic farce of existence, but here is positioned more like an opportunity. To continue asking questions both of yourself and your surroundings, as though the act of interrogation is its own strange power. A sign of a faith in something human and sublime.

Being Dead – EELS

Bayonet Records

“If you thought [previous release] When Horses Would Run was inventive, then just wait until you hear what is coming next. Because the new Being Dead full-length EELS […] takes everything that made its predecessor special and pushes it further. Travelling to Los Angeles for a fortnight of writing and recording with John Congleton, the pair pushed themselves to embrace the singular spirit of their work. The result is a record that’s more intense, more raucous and decidedly darker than anything which has come before, without sacrificing that mischievous persona.” [Review]

Ben Seretan – Allora

Tiny Engines

Described by Ben Seretan as his “insane Italy record,” Allora represents a snapshot from a very specific time and place. Or rather it would, should ‘snapshot’ come anywhere close to describing the scale, heft and sheer abundance of moving parts on show. Seretan and his band were due to play a wedding at the tail end of “a wonderful but lightly disastrous tour” of Europe during the summer of 2019, only for rain to half play and leave them in the lurch. But rather than waste the curious mix of energy and exhaustion that sets in at the end of a tour, they decided to make an album instead. A three-day stint at a farmhouse in the hills overlooking Venice with renowned mixing engineer, producer, musician Matt Bordin was arranged. A brief moment where a plethora of emotions were processed and purged through joyful noise. The result is unashamedly maximalist, entirely heartfelt, and in possession of that lightning-in-a-bottle feel that suggests it could never have materialised anywhere else. Catharsis has long been a key thread of Ben Seretan’s work, but rarely has it gone quite so hard.

The Big Easy – (It’s No Secret) The Truth As Bad As the View

Trash Casual Records

“It’s notable that The Big Easy’s latest album, (It’s No Secret) The Truth As Bad As The View, is the first to feature Berthomieux’s image on the cover. The first symbol on a record that looks to grapple with exactly how and why a person of colour might be made to feel an interloper within certain artistic circles. Berthomieux cites a James Baldwin statement as a key to realigning his perspective. ‘To be a Negro in this country,’ Baldwin wrote, ‘and to be relatively conscious is to be in a state of rage almost all of the time.’ Suddenly what had for so long seemed like a personal hang-up or imposter syndrome was revealed to be an intrinsic part of the Black experience, and to connect his own emotions with a historic struggle proved liberating. Thus the album became an exercise in owning his identity and finally voicing those things kept buried for so long. ‘It’s No Secret is kind of like a journal,’ as Berthomieux concludes, ‘a place where I can express the things that I haven’t been able to say out loud’.” [Review]

Brown Horse – Reservoir

Loose Music

“Call it distraction, call it despair / No matter what you call it you can feel it when it’s there.” These lines from the track ‘Bloodstain’ encapsulate the presiding mood of Brown Horse’s Reservoir. A sense of unease which permeates their alt-country style like something “drifted on the low tide,” as the song continues. Something that’s now “hell bent for to stay.” This disquiet is evoked not only in images of stark estuary mudflats and cold fields but also polycotton shirts and soulless expanses of megastores. In the nostalgic melancholy of opener ‘Stealing Horses’, or the Molina-esque lyricism of songs like ‘Sunfisher’ and ‘Outtakes’ with their burning houses, hummingbird hearts and singing birds. And like all the best Gothic atmosphere, it is not entirely clear whether the sensation is a haunting from some ancient thing or a dark harbinger of what is to come.

Cara Beth Satalino – Little Green

Worried Songs

“The success of Little Green is in no small part a result of the nuanced nature of Cara Beth Satalino’s approach. Early on you come to appreciate her uncanny ability to combine deep soul-searching with offhand observations and gentle humour, inventive imagery and smart turns of phrase creating something rich and full of life despite the surrounding turmoil. [A record] soft and fragile as a little green shoot but with a spark of energy too, a desire to keep on. It might be too dark to see what is in front of you, but the earth is still turning and the bright star is still burning. There is time yet to grow towards the light.” [Review]

Cassandra Jenkins – My Light, My Destroyer

Dead Oceans

Cassandra Jenkins intended to step away from music after her 2021 album An Overview on Phenomenal Nature, only for the album to resonant so deeply with audiences she found herself newly (and perhaps reluctantly) energised, pulled back towards the urge to create. My Light, My Destroyer is what emerged a few years later, a record which not so much builds upon its predecessor as explodes out in every direction. Sophistipop, jazz and New Age elements lift Jenkins’s indie rock sound to almost orchestral territory, while layers of found sounds and field recordings anchor the otherwise celestial style in the lived-in world. This duality between the grounded and the elevated is typical of the tone, where encroaching darkness is matched by a curiosity and attentiveness to wonder. The world is beautiful, the world is burning, and both of these facts are made more urgent by the other.

The Chairman Dances – Evening Song

Self-Released

“Originating as a narrative poem, The Chairman Dances‘ new album Evening Song traces the early days of a nascent relationship,” we wrote back in September. “A seminarian and a drummer mutually enamoured with one another, caught in the heady space of attraction and mystery, hungry to learn everything there is to know about the other.” Working from this point of intersection, Eric Krewson and co. bring the pair of characters to life, providing small glimpses into moments both special and seemingly mundane to achieve a strikingly intimate sense of humanity. As with much of The Chairman Dances’ catalogue, the beauty is in the detail. The hollow knock of shoes, the wail of an oven’s timer, the catch of a lock. Small confessions shared between two people daring to allow their lives to become enmeshed.

The Dead Tongues – Body of Light / I Am a Cloud

Psychic Hotline

Not content with releasing just one record this year, Ryan Gustafson’s The Dead Tongues put out two simultaneously. The albums, published as standalone digital releases but brought together in a double LP, display both aspects of the Asheville, North Carolina songwriter’s oeuvre. I Am A Cloud is an exercise is meandering cosmic Americana, what Gustafson calls “a fever dream of song and spoken-word about the toggle between identity and ephemerality,” while Body of Light sees things solidify into discrete folk rock songs. Joined by a stellar cast of collaborators and a sense of improvisational freedom, it’s the most expensive and ambitious Dead Tongues release to date.

Deerlady – Greatest Hits

Self-Released

Described as “a collection of songs about intimacy,” Greatest Hits sees Mali Obomsawin and Magdalena Abrego unite as Deerlady to conjure soundscapes simultaneously stark, tender and thunderous. Both Obomsawin and Abrego have backgrounds in jazz, and though some of the genre’s fluidity carries through, the Deerlady project exists outside of that sphere and the expectations it carries. Rather, Greatest Hits offers an indie rock style free to be more elemental and raw, one attuned to ideas of softness and hope within a hostile and violent world. As if in the face of colonial cruelty, sound might fill the gaps where words cannot suffice. “Brick and concrete / two hundred thousand years buried beneath / while the stars witnessed the unholy,” as Obomsawin, who is from the Abenaki First Nation at Odanak, sings on ‘Masterpieces’. “Well I take it in / I wrestle with the language to begin / I didn’t come to make a speech, I came to live.”

Desert Liminal – Black Ocean

Whited Sepulchre Records

“Released in 2021, Desert Liminal‘s Glass Fate found the Chicago band “settling into a higher form,” as we put it at the time, with violinist and noise artist Mallory Linehan (AKA Chelsea Bridge) joining Sarah Jane Quillin and Rob Logan to elevate their trademark dreamy aesthetic. [Black Ocean] in many ways represents a continuation of this process. With the outfit now cemented as a trio, Linehan joins Quillin as a songwriter and vocalist, grounding the nascent sense of collaboration and connection which emerged on Glass Fate as a core facet of Desert Liminal. A development which is thematically resonant too, the record exploring ways in which death can be faced communally, and grief transmuted into something affirming and meaningful. Chicago’s DIY scene carried Quillin through the worst experiences, and Black Ocean looks to distil this experience into its purest form. The resulting songs often seem like love letters to the people in these communities. Those figures who stood next to you through the best and worst of times.” [Review]

Distant Reader – Place of Words Now Gone

Lily Tapes & Discs

“No news in weeks from outside town,” announces Emmerich Anklam at the beginning of the latest Distant Reader album, Place of Words Now Gone, thrusting the listener into a world suddenly quiet along with his bewildered characters. “Who left me in the center of this desolation?” one such person asks, “Who’s hearing me talk? Does it matter at all? Is anyone still out there? And who can tell the difference between the end and the beginning?” The record took seed in Anklam’s brain during long train rides through the fabled American landscape, and although a clear work of fiction, it’s hard not to see reality in the community it describes—abandoned by those beyond it’s boundaries, succumbing to helplessness as they lose what little agency were ever afforded them. A portrait of an isolated and dislocated America where those left behind are left to struggle and mourn as a deepening silence floods the places they call home. “And everybody she knows goes quiet trying to forget about the ways they could diminish still,” as Emmerich sings on ‘From High Remove’, “the spiral closing in around all of them. Words vanish fold in on themselves, questions halved quartered eighthed. Absence of sound infects all who feel it. Tones, phrases returning to the ether.”

Emily Hines – These Days

Self-Released

“I don’t know about you, but I’m holding out hope.” So sings Emily Hines on ‘UFO’, a single which embodies the tone of her full-length These Days. As warm and soft as a blanket to wrap around yourself in the cold winter months, but with a sharp pang of something else too, a bittersweet bite more potent than the frost at the window. The entire album is an understated gem, full of quiet and wistful songs about difficult relationships, questions unanswered or unanswerable, hoping for something more. On ‘UFO’ this ranges from a desire to know the truth about the Roswell landings to wishing for the sublime reckoning of the Second Coming. But for all of its outlandish subject matter, the song, like These Days as a whole, is entirely straight with its underlying sentiment. There is still hope that wrongs can be righted, Hines insists. Things can change for the better.

Enumclaw – Home in Another Life

Run For Cover Records

Ever wondered what might happen if you were to cross the beams of don’t-give-a-shit slacker rock and confessional, emotionally intense emo? Home in Another Life, the latest album from Tacoma’s Enumclaw, is here to provide an answer. The record is unafraid of the largest themes, lead Aramis Johnson wrestles with everything from God, illness and death to self-doubt, relationships and sex, but does so with a sense of energy and swagger. As though faced with the tangle of life’s difficulties, Enumclaw make the conscious decision to charge headlong forwards, conscious of every possible branch and thorn but moving too purposefully to become ensnared in any one spot. Whether it be the denial of a difficult diagnosis in ‘Not Just Yet’ or the internalised shame of ‘I Still Feel Bad About Masturbation’, Home in Another Life takes emotions and experiences which so often feel unspeakable and shouts them aloud in an act of agency.

The Felice Brothers – Valley of Abandoned Songs

Million Stars / 15 Passenger

Since their inception in 2006, The Felice Brothers have established themselves as one of the premier acts of contemporary US folk rock, building a catalogue of urgent narratives and strange visions with enough depth to stand alongside their literary influences. “Poems and short stories packed with clever references and wry turns of phrase” as we wrote of 2021’s From Dreams to Dust. “A confrontation of the grim realities of our moment that nevertheless celebrates the fact of being alive.” As the title suggests, Valley of Abandoned Songs is a collection of tracks written throughout the project which never quite made it onto a record, but were nevertheless strong enough to convince Conor Oberst, no less, to set up a brand new label just to release them into the world. Single ‘Flowers By The Roadside’ is the perfect example of their ability to conjure entire lives and histories in the shortest of spaces.

Are you
High as Mr Albert was
When he drove the cross town bus
Straight into the sky
I’m just sitting in these flowers by the roadside
I’m not trying to flag a ride
Just happy watching the wide world go by

The Fourth Wall – Return Forever

DevilDuck Records

Kickstarted by a family story of a relative who left a child behind when emigrating to the United States, Return Forever by The Fourth Wall is “an album which,” as we put it in our review, “combs through the contradictions of the immigrant experience in order to voice feelings otherwise impossible to convey.” Delivered via a weighty brand of indie rock, the mood ranges from anger and confusion to catharsis and joy, and the result, as we continued, is “a mixture of hope, denial and genuine love which not only subverts expectations but confounds any attempt to properly reassess. As though some decisions can be so complicated, their impacts so profound, that the very physics of emotions are bent beyond their own laws.”

Gabriel Birnbaum – Patron Saint of Tireless Losers

Western Vinyl

“Gabriel Birnbaum has become increasingly interested in music’s narrative potential, and Patron Saint [of Tireless Losers] finds him at his most confident to date,” we wrote in June. An album where Birnbaum again evolves his sound and writing to present “vignettes which occupy the knife-edge between specificity and ambiguity, rewarding the return listener with layers of wry humour and naked human emotion.” Birnbaum introduces a diverse array of characters—young and old, male and female, lonely and in the throes of love—all troubled by the gap between their own views of the world and the evitable dawning reality. As though every person, be they nervous concert-goer or overeager prepper ostensibly ready for the end times, is at some point destined to realise the true, unforgiving nature of mortal existence.

h. pruz – No Glory

Mtn Laurel Recording Co.

Many albums exists within the giddy period of new beginnings, their creators emerging from a tumultuous period of suffering or drastic change with an almost epiphanic perspective. The bad thing is in the past now, life can show its light. But while h. pruz‘s latest album No Glory focuses its gaze on a variety of pivotal moments from the life of Hannah Pruzinsky—moments they withstood, survived, emerged from—and goes as far as to imagine the perfect life ahead, it refuses the temptation to bask in the transient warmth of such possibility. As though to present the experience of a newly hopeful present as something unmarked by regret or doubt is to fail to fully inhabit its complexities. “I keep seeing change,” as Pruzunsky sings on ‘I Keep Changing’. “Peel away the borders / Of things with weight like copper / Thought it was gold / Til it turned green / In the rain.”

Haley Heynderickx – Seed of a Seed

Mama Bird Recording Co.

In 2018, Haley Heynderickx released I Need To Start a Garden, an album “all about growth and the hope of new beginnings” we wrote, yet one which refused to “shy away from the necessary hard work that makes such growth possible.” Follow-up Seed of a Seed emerges from this process of emotional cultivation, Heynderickx learning how to continue and improve upon the previous album’s progress while coming to understand such things are rarely linear and never complete. Opening tracks ‘Gemini’ and ‘Foxglove’ are marked by a sense of urgency, seized by the haste of new growth, though by the second half the tempo levels out into something slower and more complex. A host of musicians support the trademark finger-picked style, creating a layered thicket, the Haley Heynderickx sound now a rich polyculture diverse and hardy enough to face whatever life might throw at it next.

Hatis Noit – Aura (Rework Series)

Erased Tapes

In 2022, Hatis Noit released Aura, a full-length album “which draws from the vast array of Noit’s influences from Japanese classical music Gagaku and operatic performers to Bulgarian and Gregorian chanting,” we wrote previously, “not to mention avant-garde experimentalists and pop vocal styles.” Aura has had a new lease of life in subsequent years, with a series of reworkings made in collaboration with an equally diverse set of artists. After the likes of William Basinski and Matthew Herbert in 2023, this year saw Noit enlist the talents of Laraaji, Preservation and Armand Hammer to push the already kaleidoscopic sound even further.

Holland Andrews – Answers

LEITER

“Back in 2021, Brooklyn-based composer, producer, vocalist, and clarinetist Holland Andrews released Wordless, the first of a series of EPs under their own name (having previously recorded as Like A Villain). Released with label LEITER, the record introduced a distinctively transportive sound. Led by voice and clarinet and processed through a variety of electronics, the compositions offered soundscapes in which the listener might lose themselves. Rich tapestries of colour and texture crafted with an almost cinematic attention to detail. Subsequent EPs Forgettings and Doubtless furthered the scope and intention of the style, exploring themes of healing and transcendence as Andrews’s genre-bending sensibilities solidified into a style of their own […] Now Holland Andrews has returned with Answers, the fourth and final EP of the series which feels like both the clearest realisation of their creative ideals and a continued, active resistance against genre conventions.” [Review]

Hour – Ease the Work

Dear Life Records

With a studio’s worth of equipment in tow, the ensemble Hour took a ferry to Peaks Island, Maine out of season, and spent a week holed up together in an old theatre to record their latest album, Ease the Work. The project boasts a diverse cast of musicians—lead Michael Cormier O’Leary (electric guitar, classical guitar, percussion) joined by Jason Calhoun (synth), Em Downing (violin), Matt Fox (viola), Elisabeth Fuchsia (violin) Peter Gill (bass), Lucas Knapp (radio effects, field recordings, piano), Evan McGonagill (cello), Peter McLaughlin (drums, percussion), Keith J. Nelson (bass clarinet, clarinet), Erika Nininger (piano, rhodes) and Abi Reimold (electric guitar)—each bringing their own instincts and sensibilities to the project’s lush instrumental arrangements. The intimacy of the recording process allowed each separate contribution to coalesce into harmony. “Challenging any clear distinction between composition and improvisation,” as we wrote earlier in the year, the resulting record “performs the same small miracle of the previous records, presenting the everyday in all its joy and melancholy, comfort and strangeness.”

I Saw the TV Glow soundtrack

A24 Music

“The danger of nostalgia is that it tends to confuse the actual home with the imaginary one,” Svetlana Boym wrote in her 2001 book, The Future of Nostalgia. “In extreme cases it can create a phantom homeland.” The warning is explored in Jane Schoenbrun’s I Saw the TV Glow, a film with a decidedly complex relationship with nostalgia. It can be something to wrap yourself in, bond over, shelter beneath, yet with this retreat comes the risk of a detrimental stasis, where fondness for the past comes to eat up the present. The interrogation is furthered by the film’s soundtrack, where the likes of Caroline Polachek, Florist, Frances Quinlan, Sadurn and King Women tap into the unapologetically sentimental nineties aesthetic. But it is the very first track that is perhaps the most thematically resonant. Yeule‘s cover of ‘Anthems For A Seventeen Year-Old Girl’ is so distorted by glitchy imperfections it becomes something of a Baudrillardian simulacrum. A memory denatured by overhandling, unpegged from reality, a figment of the imagination which has come to replace the real.

Jahnah Camille – i tried to freeze light, but only remember a girl

Winspear

“The songs offer a picture of late adolescence in all of its bittersweet nuance, its introspective contemplation matched only by its bold confessional attitude.” That’s how we described i tried to freeze light, but only remember a girl, the debut EP of Birmingham, Alabama-based songwriter and musician  Jahnah Camille earlier this year. The release reaches for a number of genres with real confidence, be it the nineties alt-rock swagger of ‘flesh’ or the country twang of ‘roadkill’. “[But it is] the lyrics which really see the artist stand apart,” we continued. “Because Camille has a knack for combining emotion and self-awareness, offering songs entirely committed to the feelings being explored but never lacking a wry wrinkle to add that extra layer of personality.”

Jess Ribeiro – Summer of Love

Poison City Records

Written amid a period of intense instability, Summer of Love finds Jess Ribeiro negotiating the liminal space between hope and reality, confronting the past and possible futures alongside the present moment to find a way towards healing. Ribeiro chose to lean into the turmoil during the recording process, undeterred by the fact collaborators could only visit individually thanks to the pandemic restrictions, and many never made it to the studio at all. Yet together with Nick Huggins, she nonetheless enlisted the talents of Jim White (drums), Darcy McNulty (saxophone), Leah Senior (keys), James Seymour (bass), Davie Mudie (percussion) and Carrie Webster (violin and viola), guiding each musician according to the release’s spirit. The result is improvised and exploratory yet bound by the same sense of longing. That will to work through tumultuous times towards something more solid. The hope that chaos might resolve itself into a more hospitable state.

Josaleigh Pollett – In The Garden, By The Weeds

Self-Released

“An excavation of the present which inevitably tends pastward, tracing a presiding cynicism back to its roots in search of a cause.” That’s how we described Josaleigh Pollett‘s third album In The Garden, By The Weeds. At first, the imagery of the title resonates on a surface level, the Salt Lake City songwriter surveying the ecosystem of their life, assessing which parts to nurture, which to pluck or prune. But spend a minute with this collection of stark and glitchy songs and it becomes clear things are operating on a deeper level. For Pollett not only gives the weeds their due but the subterranean conditions too. Those places dark and elemental we so often pretend have no relation to us higher beings. Places perhaps inside of our lives or our selves we must reach down into if we are to make any real progress in cultivating the kind of environment we want to live in. Even if it means getting our hands dirty, scrunching our eyes and grasping blind.

Joy Guidry – AMEN

Whited Sepulchre Records

“In AMEN,” explained Joy Guidry of their most recent album, “there is a lot experimentation with different forms of Black American music. I wanted to lean heavily on my Texas, Louisiana and Creole roots in this project. There were many days spent with my ancestors during the writing of this album and I’m eternally grateful for the music they sang to me during our time together.” The record saw the basoonist and composer develop their sound with the newly prominent influence of gospel and spiritual jazz, combining the sensibilities of church music with jazz invention to create something fundamentally devotional. “The result is at once communal and singular,” as we put it in our review. “Joy Guidry as realised in their most complete form to date.”

K. Freund – Trash Can Lamb

Soda Gong

We’ve been following the work of Akron, Ohio’s Keith Freund for the better part of two decades, originally with Trouble Books, then as one half of the experimental/neoclassical duo Lejsovka & Freund, and more recently with Lemon Quartet and Aqueduct Ensemble. Following 2022’s Hunter on the Wing, Trash Can Lamb is Freund’s latest release under his own name, and offers another exercise in minimal piano, degraded samples and an array of tactile electronics. It’s the neoclassical equivalent of the folk art eccentric, spinning singular homebrew beauty from a treehouse studio filled with strange gadgets and devices, at far remove from the polish and pretension of the auditorium, yet somehow deeper for it. Trash Can Lamb walks it own path straight to the heart of things, small moments and sensations that you couldn’t describe with words if you tried.

Kali Malone – All Life Long

Ideologic Organ

“Manages to suggest both academic rigour and unburdened instinct, but ultimately transcends any focus on its intentions as the listener becomes immersed in the soundscape. Some hymn or lament, latent with the suggestion of the sublime, be it total dread or transcendence, silence or all-encompassing sound.” So we wrote of Living Torch by Kali Malone back in 2022, though the description could be extended to much of the Stockholm-based composer’s work. Written for pipe organ, choir and brass quintet, latest release All Life Long possesses all the same clarity and depth, breathing new life into classical techniques to create something at once intimate and exalted. Not holy music, per say, but music which operates according to the same ends. Aiming to evoke those sensations felt in the face of things far greater than us, more mysterious, yet surrounding us all the same.

Keanu Nelson – Wilurarrakutu

Mississippi Records

Primarily a poet in his home of Papunya, northwest of Alice Springs, Keanu Nelson was inspired to start singing his work after meeting producer Yuta Matsumura in the local arts centre. The result is Wilurarrakutu, an album first released on Altered States Tapes last year, but put out to a wider audience back in August by Mississippi Records. With Casio beats programmed by Matsumura as support, Nelson delivers deeply personal poetry on themes of loneliness and family, home and loss, in both Papunya Luritja and English. Nelson incorporates reggae and gospel influences into a sound which emerges from an electronic sonic lineage that trails back to the likes of Suicide and Francis Bebey but represents its own singular style. One which aches with a sense of longing, the relative simplicity of the arrangements allowing the emotional depth of Nelson’s poetry to sit front and centre, blurring the classic and the contemporary into something genuinely moving.

Lia Kohl – Normal Sounds

Moon Glyph

“Able to evoke existence in all of its magic and mundanity.” That’s how we described the work of Chicago-based cellist, composer and multidisciplinary artist Lia Kohl back in July, describing her album Normal Sounds as “at once normal and very much not, or else it is extraordinarily normal—with Kohl turning her attention to the acoustics of everyday living and presenting them back to the listener as something as something new.” Existing somewhere between music and sound art, the record uses synths and cello (as well as occasional flute and electronics from Ka Baird and sax from Patrick Shiroishi) to accentuate field recordings of human-made sounds, reflecting our own world back to us in a new light. Here the incidental is elevated, each song a cacophony crafted from the sounds we so often ignore or phase out. Kohl isn’t so much crafting a soundscape for us to hear as rewiring our brains so that our attention might be heightened. What we encounter in such a state is sometimes playful, sometimes strange, occasionally unnerving and melancholic in the way the slow passage of life always is. The human world in granular detail. What it sounds like to live here and now.

Lindsay Reamer – Natural Science

Dear Life Records

“[Songs which] not only represent a study of a specific time and place—capturing a snapshot of environments both natural and human and the porous border between the two—but also a report on how it feels to exist within that period. As though Lindsay Reamer serves as our guide through contemporary America as she knows it. A squeezed no-man’s land between the past and the future. A place where great beauty and banality sit side by side, where old choices drag unforeseen consequences towards us and yet the smallest details still seem to hold life in all of its inscrutable charm.” [Review]

Little Kid – A Million Easy Payments

Orindal Records

“[The] ability to vary the focal length of its perspective so gracefully is a signature of A Million Easy Payments. “The urgency in Kenny Boothby’s voice matches the stakes of his lyrics,” writes Dan Wriggins in the liner notes [of Little Kid‘s latest album], “epic ballads and reveries that come at life from all angles and exposures, driving at and a little over the limits of self-reflection.” The sense of an artist never quite satisfied with the scene they have captured, always looking to widen the lens to better represent the truth before them, or else zoom in closer in search of the missing detail which might click everything else into place. Call it a search for meaning, or even God Himself. In other hands, songs reaching for such things with the expansive style of Dylan and Welch at their most ambitious might feel like novelty or pastiche. But in this context it seems the only logical outcome for Little Kid’s specific way of working.” [Review]

Lollise – i hit the water

Switch Hit Records

“Hailing from Francistown in Botswana and now based in New York, Lollise is an artist who draws from the entirety of her musical history when crafting her songs. Hence the sound of her debut full-length I hit the water owes a debt to the styles which soundtracked her childhood and early years—including Setswana and Kalanga folk songs, South African electronic bubblegum and kwaito from the eighties and nineties, Congolese soukous and Zimbabwean sungura—as well as genres like Afrobeat, art-pop and new wave which she immersed herself in after moving to the US. What results is a sound capable of evoking the future and past simultaneously, where traditional styles are repurposed to open new directions, and the line between history and imagination blurs into something entirely new.” [Review]

Mary Ocher – Your Guide to Revolution

Underground Institute

“To say Mary Ocher’s latest album Your Guide to Revolution is ambitious in its intentions is to risk understatement. A kaleidoscopic and politically charged collection of songs which draws on Ocher’s childhood (born in Moscow to Jewish-Ukrainian parents before emigrating to Tel Aviv during the Gulf War) as a way into wider themes of resistance and civil disobedience. A huge array of styles and influences are utilised across the record, both to evoke the gamut of emotions triggered within the contemporary struggle and to ground the release within a wider history of such subversive art. A central part of the album is a series of three tracks which rework pieces by harpist Dorothy Ashby based on the Rubaiyat of Omar Khyyam, a triptych of songs which Ocher has collected into a short film which echoes The Color of Pomegranates by Sergei Parajanov.” [Review]

Merce Lemon – Watch Me Drive Them Dogs Wilds

Darling Recordings

“A collection of nine songs with dirt under their fingernails, equal parts wild and vulnerable as they reckon with the changing tides of love in all its guises […] Merce Lemon’s songwriting is often gentle, careful and sincere ruminations on love and solitude, but this underlying ferality is perhaps the record’s biggest strength, and the most obvious step forward from Moonth. A reminder the soft animal can still bear its teeth, a kind of wildness that turns heartfelt, mid-tempo folk rock songs into blown-out anthems, building towards crescendos of wailing guitar and pure feeling.” [Review]

Minor Moon – The Light Up Waltz

Ruination Record Co.

Minor Moon‘s latest album The Light-Up Waltz is set within “speculative world, where civilisation has collapsed and the characters are made to exist in the aftermath,” as we wrote earlier in the year. “But far from some desolate landscape of grim suffering, this post-civilisation society is one coloured by the invention and playfulness of its inhabitants. As though steely determination can only be maintained with a suitable accompaniment of joy.” This is a collection of songs working under such a logic, finding its characters proactive in their search for meaning, and perhaps finding it through that very mindset. “To me,” as lead Sam Cantor puts it, “the antidote to fatalistic disillusionment is a kind of complicated dance with dread, hope and joy.”

MJ Lenderman – Manning Fireworks

Anti- Records

It’s fair to say MJ Lenderman has come a long way since we shared ‘Gentleman Jack’ from his 2021 album, Ghost of Your Guitar Solo. Through his what we’ve described previously as “masterful knack for combining details small and absurd into something which feels like life as it’s lived on the ground,” the last coulpe of years has seen Lenderman take the leap into the indie stratosphere, and latest album Manning Fireworks makes good on this acclaim without sacrificing the sensibilities which got him there in the first place. Often wacky yet always unabashedly earnest, these are songs of a different sort of American mythology. Colourful, chintzy, most likely temporary. A place of waterparks and McDonalds lots. Pocket Bibles, drunk drivers, Disney Pixar deleted scenes. A place inhabited by people who were once babies and now jerks. People like you and me.

Mol Sullivan – GOOSE

Self-Released

A self-described “long exposure photograph” charting growth both artistic and personal, Mol Sullivan‘s GOOSE serves as a portrait of a person within the arc of great change. With songs written in the aftermath of a relationship and during a nascent sobriety, the album opens with Sullivan “set deep in those early days of a new beginning,” as we wrote, “where everything feels possible yet tenuous and a little too vivid to bear,” but does not stay constrained to the present moment. Instead, we find an artist moving forwards and looking back, reflecting on who they were and who they want to be, reaching beyond stories of love and addiction for a more nuanced picture of life. An artist in dialogue with themselves, teasing out those fundamental things which exist beyond what happens to us within any given moment, and thus repositioning change as a positive force we might harness to become ourselves more fully.

mui zyu – nothing or something to die for / cantonese tasting menu EP

Father/Daughter Records

Last year’s Rotten Bun for an Eggless Century saw Hong Kong British artist mui zyu delve deep within themselves in search of a better understanding of their own identity. The songs mapped a vast labyrinth of history and personal experience and located the elusive truth not locked in some remote central chamber but rather via the process itself. But if the introspective survey of Rotten Bun charted the complex contours of its own small world, follow up nothing or something to die for flips its gaze outwards to take on a far bigger challenge—the chaotic, conflicted place we call home. Here human society is painted as an overwhelming and fundamentally lonely place, where an omnipresent technological connection belies the isolation at its core. Floating over this absurd space, mui zyu looks for the points where the veil between us is the thinnest, hoping a better existence might be possible while refusing to ignore evidence to the contrary. There might be nothing, there might be something to die for, or perhaps both of these things can be true at once.

Nap Eyes – The Neon Gate

Paradise of Bachelors

Through a string of ambitious, philosophical and playful albums, Halifax outfit Nap Eyes have established themselves as one of the most inventive, thematically interesting bands in contemporary indie rock. Even by their standards, The Neon Gate pushes the envelope on what songs can be and explore. Fans will recognise Nigel Chapman’s distinctively deadpan vocals, but the Nap Eyes sound has expanded in various directions, shapeshifting between tracks and unafraid of the abstract and improvised. Weird tangents are followed, eldritch stories are told, what rules there were are broken. The result is to witness something familiar transmogrify, metastasise, expand and contract before your eyes, the recognisable slowly twisted strange into a new, surreal landscape. A style inspired, at least in part, by the William Butler Yeats poem ‘I See Phantoms of Hatred and of the Heart’s Fullness and of the Coming Emptiness’. A poem which is adapted as a song near the end of the album:

I climb to the tower-top and lean upon broken stone,
A mist that is like blown snow is sweeping over all,
Valley, river, and elms, under the light of a moon
That seems unlike itself, that seems unchangeable,
A glittering sword out of the east. A puff of wind
And those white glimmering fragments of the mist sweep by.
Frenzies bewilder, reveries perturb the mind;
Monstrous familiar images swim to the mind’s eye.

Prostitute – Attempted Martyr

Self-Released

The past year has been desperate, dizzying and ferociously cruel for many, and no release captured this reality better than Attempted Martyr by Prostitute. Described as being “written and recorded under duress of a world in turmoil” and “dedicated to Lebanon, from Dearborn with love,” the album sits somewhere between noise rock, post-punk and jazz. A collection of songs twisted tight with intensity, always threatening to spin out of control, fired by the depthless fury of grief and somehow managing an air of plaintive sorrow too. Beneath the delivery’s bark and bite lies a deceptively diverse range of moods and emotions—from the mournful opening title track and spittle-flecked defiance of ‘Judge’ to poetic meditations on justice and resistance and even a certain wry humour (Prostitute one-up fellow Michigan punks Protomartyr by devoting an entire song to celebrity attorney Joumana Kayrouz). A timely reminder of the fertile relationship between anger and compassion, and a scream into the face of a world gone numb.

Rosali – Bite Down

Merge Records

“Help me, darling, I can’t seem to bite down on it / I can’t seem to feel what’s real anymore.” So opens the title track of Rosali‘s Bite Down, giving voice to a sentiment which underpins the entire album. But this is not a record of desperate pleas and drifting disconnection, rather the antidote to such things. As though having been touched by these emotions, Rosali chose to be proactive, confronting life’s ups and downs with a newfound defiance, determined to feel reality in all its forms. The title refers to “something more extreme than leaning in,” as Rosali told Mariana Timony for Bandcamp. “I’m taking a bite. I’m accepting it. I’m chewing it.” Again recorded with the David Nance Band to blur the line between solo and group effort, the resulting album effortlessly straddles folk and classic rock styles and builds upon everything which made 2021’s No Medium so special.

Roswit – Eternal Living

Mono Tapes

The debut album from self-described “olde punks” Roswit has one foot in classic Pacific Northwest indie pop and another across the ocean in a Flying Nun Records style jangle, with some wiry, stripped-back punk thrown in for good measure. From infectious opener ‘Grape’s Song’, which calls to mind fellow Vancouverites The Courtney’s, to the sleeves-rolled-up scrappiness of ‘King’s Song’, every song is packed with a sense of DIY fun. And to top it all there’s a throwback vibe, not to bygone decades but right back to the Middle Ages, a candy-coloured fantasy land of knights and dragons and damsels in distress. This is sometimes achieved with subtle lyrical nods, and others musically, such as ‘Princess’s Song’ which sounds like a lo-fi punk take on a Medieval ballad. Eternal Loving is perhaps best summed up by ‘Dreamer’s Song’, which has it all—supremely catchy hooks, galloping percussion, oohing and aahing harmonies, flutters of flute and daydreams of ye olden days.

Shovel Dance Collective – The Shovel Dance

American Dreams

“We want to play and experiment, layer and move between different spaces in recording, and extend the limits of our instruments to sing and break in new ways,” explained Shovel Dance Collective of their experimental folk sound. “Improvising, textural playing, and moving as one free organic organism are all part of the experiments we try and make in form. It’s all towards this one goal: constructing the Shovel Dance world and saying what we feel needs saying.” Latest album The Shovel Dance saw the outfit “position themselves within an exciting contemporary movement,” as we wrote in our review, “and The Shovel Dance is sure to join the likes of Lankum’s False Lankum and Shane Parish’s Liverpool in their mission to push old sounds and stories into new dimensions.”

S. Raekwon – Steven

Father/Daughter Records

A moniker can offer many things for an artist, not least a sense of separation between their ‘real’ and performing selves, but while Steven Raekwon Reynolds released his latest record Steven under the name S. Raekwon, the album’s title is suggestive of the manner in which the songs work to close this gap in search of authenticity. Because this is a personal album in the most practical sense. Reynolds did all the writing, production, engineering and mixing, not to mention played every instrument with the exception of the drums. What emerged is a collection of songs which serves to illuminate the different parts of their curator, as though the record is a prism through which he shines himself, each track a different wavelength of his personality stratified according to mood. “Maybe subliminally or unconsciously, the songs kind of grouped together in a certain way to explore different areas of myself,” he explains. “The beginning is rage and angriness in a certain way. The middle is this uncertainty of questioning yourself, who you are, and if you’re a good person. And then at the end, I think it comes to a place of resolution. I’m just examining myself and trying to come to a better understanding of who I am.”

Sinai Vessel – I SING

Keeled Scales

In October, Caleb Cordes announced that Sinai Vessel, his moniker for the past fifteen years, had come to an end. “You have taught me everything and I’m taking it all with me,” he wrote in a statement of social media, looking forward to new, healthier future without the constant striving for further success and recognition in the cockfight that is the music industry. Released back in the summer before this news broke, the fourth Sinai Vessel album I SING represents both a parting gift from a project that has meant so much to so many, and a frank examination of the factors which grind artists down to the point of submission, taking on themes so often absent from art with a sincere yet unromantic air. “I sing for a reason,” Cordes sings on the title track. “My reason’s the same // as the nurses buying rentals
/ and rides to broadway
/ who fill up big bars on buses
/ and fall off shit-faced / and the trained men who clock in / coming back from smoke breaks
/ who zoom in from satellites
/ to bomb palisades.” Because I SING is an album about the rarest of things: money, or the lack thereof. How contemporary society seems built to punish anyone who dares attempt a living through art, and the ways in which the compulsion to create persists in ways both magical and mundane. “I sing ‘cos I wake up
/ again and again,” as the title track continues. “It never stops coming
/ it doesn’t make sense.” Sinai Vessel is dead, long live Caleb Cordes.

Slippers – So You Like Slippers

Lame-O Records

“It was childhood residence Atlanta that lit Madeleine BB’s creative fire. The city is home to the headquarters of Cartoon Network, which inspired not only her interest in animation, but indie rock too. ‘Cartoon Network… was a big part of my life growing up,’ she says. ‘They always had a lot of indie bands in the fold there—I remember there was this Powerpuff Girls music compilation that had Devo and Apples in Stereo and Shonen Knife on it. My dad bought that for me and I just became obsessed with it.’ Many of the tracks on [Slippers‘] So You Like Slippers? are a product of this kind of cross pollination, either inspired by or written specifically for BB’s animations. ‘I was trying to make these jokey kid’s songs, sort of like They Might Be Giants, to go along with my animations,’ she describes, and it’s clear this visual starting point provided a sense of creative freedom. License to write quickly and without inhibition, and the ability to explore themes and feelings that could be painstakingly overwrought with charming ease.” [Review]

Tasha – All This and So Much More

Bayonet Records

“Finds an artist embracing the pace and breadth of their new life. Confronting each day with a sense of defiance rather than looking for somewhere to hide.” So we wrote of Tasha‘s All This and So Much More in a preview back in the summer, an album written amid a flurry of experiences that ran the gamut between agonising (unexpected grief, an abrupt separation) and amazing (a role in the Tony-nominated Broadway musical Illinoise). Where many might have sought some form of retreat from life’s constant barrage of change, the Chicago artist instead decided to lean into the momentum to embrace the potential of forward motion. “I’m overcome at the wonder around me,” she sings on the quasi-title track ‘So Much More’. “I fill my lungs, feel the air rush inside me / Could this be fun? Could I be happy?” The album works through the doubt of such questions with decisiveness, choosing to believe that the impossible might be true, life a joyous experience after all. “What if my hope didn’t have a ceiling? / What I want most, all I imagined / What if I chose to settle for nothing less than magic?”

Trace Mountains – Into the Burning Blue

Lame-O Records

Glance at the title of Trace Mountains‘ latest album Into the Burning Blue and you’d be forgiven for expecting a descent into something deep and dark, an assumption only strengthened by opener ‘In a Dream’. “A dispatch from whatever stage of capitalism we’re calling contemporary America as delivered from a breathless nighttime bike ride,” as we wrote of the track back in the summer. “The effect is passing through a dark passage full of eerie shadow without quite knowing if there’s an exit at the other end.” Yet rather than barrelling down towards some nadir, the track’s glittering eighties rock sensibilities manage to invert the arc, the climax instead finding Dave Benton breaching the surface into a wider world. Which isn’t to say the rest of Into the Burning Blue is bright and affirming, it is after all a record concerning the end and aftermath of a long-term relationship, rather that the shades of blue on offer are far more nuanced and diverse than you might at first expect. A picture of person moving through conflict and loss attuned to all the accompanying tones that come with it, and one delivered with all the widescreen confidence of Petty or Springsteen to boot.

villagerrr – Tear Your Heart Out

Darling Recordings

Zeroing in on life’s small, ostensibly ordinary moments to find the meaning within, villagerrr‘s latest album Tear Your Heart Out sees Mark Allen Scott embrace his Midwestern roots for a country-inflected brand of indie rock. Chillicothe, Ohio might have felt constrictive growing up, but home is home and soon a sense of fondness began to blossom, and with it came a desire to acknowledge the fact. “I want to wear where I’m from and my family on my sleeve,” Scott explains. “I’m proud of the twangy influence in my music from corny country songs I’d hear on the bus rides to school. I feel like I’m reclaiming where I come from and making it my own.” The result is a decidedly empathetic collection of songs able to zoom close to the smallest details of small town life, be it light through a sunroof, the smell of cut grass or pencil drawings made in an effort to preserve memories. Some of the tracks are tortured in their own quiet way (“Falling in and out of trust / With the ones you loved before,” as he sings on ‘Cry On’, “It’s not the way I hoped it would be / Oh, no”), some wryly funny (“I see you wearing your Carhartt jeans / Talking ’bout how you don’t got money,” is a refrain in ‘Car Heat’), but all are wrapped in a sense of understanding, as though villagerrr attempts to see through the tangle of emotions to see the fallible humans struggling underneath.

Waxahatchee – Tigers Blood

Anti- Records

When released in 2020, Waxahatchee‘s fifth full-length Saint Cloud felt like the pinnacle of the project, Katie Crutchfield pivots towards an alt-country aesthetic so seamless and fitting it appeared to be some form of completion. Only for Tigers Blood to roll around a few years later, an album which sees the Waxahatchee star rise even further. Unfazed by recent popularity, Crutchfield and co. resisted all the trappings of success and temptations to transcend into the mainstream to instead focus on the present. There are no synths on Tigers Blood. No cinematic pop flourishes. No indication of burning through a newly weighty budget. Which is to say, the album finds Crutchfield not so much dreaming of what Waxahatchee could become, but instead concentrating on exactly what it is. The result is full of heart, romance and hard-won authenticity that could only stem from a place of confidence. Waxahatchee might have found its final form, but you sense this is only its beginning.

Wendy Eisenberg – Viewfinder

American Dreams

“When Wendy Eisenberg finally got Lasik surgery after a lifelong struggle against an assortment of ocular and vision-based afflictions, the resulting impact went far deeper than they perhaps expected […] Viewfinder emerges from within this new experience of the world, reckoning with exactly what it means to see and not to see, and how beauty and meaning are inherent within both experiences […] How does our understanding of the physical world change according to our ability to visually perceive it? And what about other planes—the emotional, spiritual and metaphysical?” [Review]

West of Roan – Queen of Eyes

Spinster

“A god of doorways and portals, a god of seeing in the dark and in dreams, a saint of weeping in sorrow or in joy.” That’s how Laurel Premo, writing in the album notes, describes the titular figure of West of Roan‘s latest record Queen of Eyes. The guide which leads Annie Schermer and Channing Showalter deep into a realm of myth, archetype and imagery, some otherworld beneath our own which bears the load of all that has been before and will surely arrive in time. A place where both personal, historical and cultural trauma unwinds itself as story. When we say West of Roan is a project steeped in the folk tradition, we mean it in a fundamental sense beyond any musical style. That urge to communicate, console, explain or contextualise. To take on the largest of themes in the ways humans always have. The result isn’t so much ambiguous as multifaceted. Stark, beguiling, full of glory and grief. As mysterious as the Queen herself, demanding you submit to its forces to discover the transcendence within.

Why Bonnie – Wish On The Bone

Fire Talk

“How do we live authentically within a world which demands we perform and pretend? Is it possible to confront the true dismal nature of things and still retain a sense of hope? Such questions have weighed on [Blair] Howerton since previous Why Bonnie album 90 in November, not least because she felt she had evolved beyond the wistful country-inflected style those songs presented. “I’ve changed since that album, and I trust that I’ll probably continue to change,” as Howerton explains. Wish On The Bone looks to pinpoint who she is at this point in time without committing to any lasting identity. To possess the confidence to work beyond the expectations of preconception and present however feels right within the current moment. Hence an album which foregoes easy pigeonholing in terms of style, unified instead by the defiant new self-confidence which underpins it. “You owe it to the people who are experiencing the worst to just keep pushing,” as Howerton concludes. “These songs were written out of hope for a better future. I’m not naïve, the world is fucked up, but I think you can radically accept that while still believing it’s possible to change things.” [Review]

Wild Pink – Dulling the Horns

Fire Talk

If recent years have seen Wild Pink’s star rise, then Dulling the Horns could be said to see it begin its arc back earthward, returning not to obscurity but a gravity-saddled weight and heft, the loud rush of the atmosphere roaring in its ears. Recorded live with all the grit and raw energy of the band’s live show left intact, it feels like both a throwback to their early work and a new chapter entirely, losing the wide-screen scope and sparkling electronics in favour of something with a little less polish.  “I didn’t want to clean up anymore,” says lead John Ross. “In doing so we’ve arrived at a new place.” Thematically it leaps around, touching on everything from Dracula and Michael Jordan to the Waco siege and Lefty Ruggiero, and this willingness to reach wide and chase tangents only furthers the sense of immediacy, resulting in the most urgent Wild Pink album to date.

Wishy – Triple Seven

Winspear

Released hot on the heels of December 2023’s successful EP Paradise, Wishy‘s debut full-length Triple Seven seemed to confirm suspicions the Indiana outfit possess the magic Midas touch, a spontaneous jackpot on first pull of the lever which included an NME cover among other such acclaim. And though the journey to that recognition was far more convoluted in reality, something about this iteration, led by songwriters Kevin Krauter and Nina Pitchkites, possesses an undeniable lightning-in-a-bottle charm. A sound which “pays homage to forebears […] while fashioning the nineties-nostalgic sound into something entirely their own,” as we put it, combining dream pop, shoegaze and indie rock influences into something as polished as it is fun.

Young Jesus – The Fool

Saddle Creek

“The pressures of touring had seen the original Young Jesus band slowly disintegrate, and the mosaic pop of Shepherd Head demanded hours spent alone in front of a computer. Exhausted and disillusioned by the process, Rossiter pined for something less abstract. A way to express his creativity rooted in the real world. So he turned to gardening, studying permaculture and the slow process of nurturing it demands. Only then came a chance encounter with Shahzad Ismaily, originating in a shared interest in the work of Milford Graves, and a slow process of coaxing. Rossiter would work on music then tend Ismaily’s New York garden between sessions. At home in LA, he did the reverse, planting trees and laying paths with Alex Babbitt and Alex Lappin before gathering around the piano to play and sing. Slowly the compulsion to make music returned, though now informed by the lessons learnt whilst working on the natural world. The resulting album The Fool feels like another milestone for Young Jesus. A continuation of the searching style which has so long marked the project, but one armed with a new array of tools and techniques to perhaps arrive closer to a satisfying end.” [Review]

The post Year in Review: 2024 appeared first on Various Small Flames.

Hi Clarke, thanks for speaking to us! How does it feel to have you new album Antumbra Pull out in the world?

Hi! Thank you for reaching out. It feels good having the songs out there, and it mostly felt good to give the album a little bit of a spontaneous/quick release. I don’t particularly enjoy the promotion process or sitting on material for too long, so it feels like a weight off my chest to call these songs done and move on in a sense. Joshua from Antiquated Future is wonderful to work with, he handled nearly everything while still keeping my creative vision central. We wound up releasing the album less than two weeks after we decided to work together on it, which is a dream for me.

You’ve described the songs on the album as “thank you notes and love letters” to your partner, who is currently going through some pretty terrifying health issues. First of all, are you both holding up okay? And what influence did the news have on you releasing these songs now?

Thanks for asking, we’re trying to keep our heads up (which he’s better at than me most of the time). I gave him the final version of the album as an anniversary present, which happened to only fall four days before the initial hospital visit and diagnosis (stage IV renal cancer with metastasis in the lungs, spine and ribs). It was timed perfectly in a sense, I was able to give him this (in my opinion) grandiose statement of love and gratitude right before everything got distorted and scary. The songs on the album mean a lot to him, they’re a reflection of our time spent together and he tells me constantly how much strength he’s found in them.

I had talked briefly with Antiquated Future about releasing it before I got the news that he was sick (which rapidly transformed my world – the vast majority of my time was immediately focused on supporting him) so I’m grateful that we were able to get the album out so quickly. Like I said, I have a hard time sitting on material prior to release and I really wanted these songs out in the public as sort of a declaration of love.

We’ve been following your work (as The Washboard Abs and Pleasure Systems) for a while now. To me this seems like your most accomplished work to date, but I’d be interested to know how you feel your music has changed and matured over the last few years.

Thank you! This record is some of my proudest work to date. In the last couple years (really since I started collaborating with my current bandmates in the Washboard Abs, who are all far more skilled musicians than I am) I’ve started to take my musicianship much more seriously and really expand my vocabulary of harmony. But more than that, I write as an immediate reflection of whatever is happening in my life at the time, and I think that’s a much better way of charting the growth of the material. I wrote have u scanned ur club card? from the depths of a depression that followed the death of a couple close friends, I wrote Recurring Chasms as a statement on my recovery process from a sexual assault, and I wrote Antumbra Pull mostly about being head over heels in love and finding a lot of healing within a relationship. Goes without saying that I view Antumbra Pull as my happiest album, but it also feels like my most mature album. I think it’s reflective of the clarity I gained after writing so much material during the darkest points of my life.

How does the music you make as Pleasure Systems differ from the Washboard Abs stuff? Are they two very separate entities in your mind? Or do you use songs for either project depending on what you’re working on at the time?

The idea behind Pleasure Systems came about after the Washboard Abs evolved into a fully collaborative band. Working with my bandmates has been a transformative experience and I’m really humbled to be playing with them, but I had self recorded under the name for about three years at that point and really missed the process of creating music entirely on my own. The key distinction between the two projects for me is the recording and arrangement style, I listen to a lot of electronic music and wanted an outlet to explore digital sounds further – the band is a fairly standard two guitars, bass and drums lineup. There’s a little bit of give and take between the two projects though, I scrapped my Pleasure Systems version of “Through the Air” when my bandmates wanted to play it with me, “Haunt Me” became a pleasure systems song when the rest of the band wasn’t enthused about arranging it, and we’ve been playing “Bathroom Stall Prayer” as a full band in the last couple months.

Besides the aforementioned highly personal stuff, what are the current big influences on your songwriting?

Like I said above, I tend to write from a perspective informed by whatever’s consuming my exterior life. So these days, I’m writing a lot of pretty sad songs about watching someone you love battle serious illness. I’m sitting with a lot of fear and it shows up in the songs more than I want it to, so I’m consciously trying to shift into writing from a more hopeful perspective.

Past that, I have a deep admiration for the arrangements of Stephen Steinbrink’s songs, his music has this every-element-in-its-place type of perfection to me, there’s so much nuance and texture that all fits together seamlessly and somehow still feels restrained. In a similar vein, I find myself very drawn to the deceptively restrained songwriting of the bands Florist and Big Thief, both melodically and lyrically. My friend Mat Cothran (Coma Cinema/Elvis Depressedly) will always be one of my biggest lyrical influences, I’m constantly moved by his unflinching honesty through songwriting (this newest/final Coma Cinema album especially). Chris Weisman is my absolute favorite songwriter and has been a huge inspiration for me, but his music is so complex and intelligent I’m not sure his influence will ever be audible in my work.

What are your plans for the foreseeable future? Do you plan to tour Antumbra Pull? And can we expect more Pleasure Systems releases?

We have a couple exciting Washboard Abs shows lined up this spring in Washington state, and this February I’m going on a short east coast US tour as Pleasure Systems with Body Meat and Ada Babar. I’ve already started working on recording the next batch of Pleasure Systems songs, and the Washboard Abs are gonna start recording our next album early next year. No idea when those songs will see the light of day though. I’m still working on new material, but for the last few months (and into the foreseeable future) my energy has been pulled away from creative outlets and refocused on helping my partner. He’s recovering from two major surgeries pretty rapidly and regaining a lot of his strength, so hopefully we’ll be able to return to more normalcy soon. For me, normalcy is constant creative work.

Lastly, could you recommend 4/5 artists that you’ve been liking lately? They can be new releases or golden oldies, it’s up to you.

Well, my all time favorite album has slowly become Rendezvous With Rama by Ruth Garbus. I can’t recommend this record highly enough – it’s the perfect blend of soothing and energizing, it’s really mystical and healing music to me. My best friend Chris (who mastered Antumbra Pull) has a project called Body Meat that I think is the best band in the world at this point. The Washboard Abs put out a split tape with him on the label Citrus City this summer. His whole discography is mind blowing to me, and he’s been a tremendous help with critique and motivation. He constantly makes me want to work harder. Angela, the other guitarist (besides me) in the Washboard Abs, makes mesmerizing loop-based ambient music on her own under the name noneforme. She’s taught me an immeasurable amount about harmony and has really helped shape me into the songwriter I am today. The two of us also used to play in our friend Ben Varian’s backup band ‘The Ben Varian Approach’. Ben’s music is triumphant, melancholic and uplifting. He’s an absolute master of weirdo pop. Lastly, I guess what I’ve found myself putting on most often in the past year are the many projects of Lily Konigsberg. She plays in the group Palberta, is half of the magnificent electronic pop duo Lily & Horn Horse and released a wonderful split under her own name with Andréa Schiavelli this summer. Past that I’ve been listening to a kind of silly amount of Steely Dan.

Be sure to check out all we’ve written about Pleasure Systems and The Washboard Abs, purchase Antumbra Pull from Antiquated Future and support the rest of Clarke’s music via Bandcamp.

Photo by Heidi Kleder

The post Interview: Clarke Sondermann appeared first on Various Small Flames.

Naomi Pop – S/T (REVIEW)
(RIYL: lo-fi, indie rock, other Z Tapes artists)

naps – one hundred percent confident (REVIEW)
(RIYL: ambient, experimental, naps with an uncapitalised-n)

Naps – You Will Live in a Cool Box (REVIEW)
(RIYL: lo-fi, garage rock, indie pop, Naps with a capitalised-N)

Nadia – I’m your protector now
(RIYL: dream pop, healing, electronic)

Newfoundland – Good News is Too True (REVIEW)
(RIYL: atmospheric folk, dream pop, Youth Lagoon, Meursault)

Noël – ’10
(RIYL: punk, emo, indie)

Ocean Floor – Old Haunts (REVIEW)
(RIYL: bedroom pop, lo-fi, Mount Eerie)

Oddigtl – solarium
(RIYL: beats, lo-fi, electronic, laidback summer soul)

Old Gray – dex
(RIYL: sad, bedroom pop, slo-mo emo)

Pasture Dog – Southern Gothic (REVIEW)
(RIYL: lo-fi, hymnals, all things Southern Gothic)

Prairie Empire – Sad Winter Songs (Outtakes and Demos)
(RIYL: folk, acoustic, sad bastard music)

Pet Cemetery – dietary requirements (REVIEW)
(RIYL: bedroom pop, ambient, Coma Cinema)

Phargo. – Rende’s
(RIYL: emo, Braid, anime)

Plums – Jen
(RIYL: dream pop, summer crushes, nostalgia)

PONY – CRUSHED (REVIEW) 
(RIYL: indie pop, Best Coast, Vivian Girls)

Pope – Fiction
(RIYL: noise, grunge, No Age)

Porridge radio – im not sure anymore
(RIYL: lo-fi, sadcore, bedroom pop)

The Pretty Greens – Lonely Hearts Club No Jerks Allowed
(RIYL: The Raincoats, Bratmobile, Brill Building pop)

Radiator Hospital & Martha – Split EP
(RIYL: indie rock, power pop, Radiator Hospital, Martha)

rchrd prkr – it’s getting worse
(RIYL: emo, punk, lo-fi)

Robbie Bankes – Through February Snow (REVIEW)
(RIYL: folk, Tyler Butler, winter)

Romantic States – s/t
(RIYL: minimalist pop, garage rock, blends of quiet & loud)

Ruth & Trudy – Still Pond (REVIEW)
(RIYL: indie pop, experimental, lo-fi)

We’ll be sharing a new section of the list every day this week, so be sure to check back for the complete collection. If you find something you like, or think we missed something life-changing, then why not let us know on Facebook, Twitter, Instagram, Tumblr or good old email.

The post Favourite Free Music of 2015: N-R appeared first on Various Small Flames.

Henoheno – I Made These Songs Before I Moved (REVIEW)
(RIYL: Bedroom pop, Elvis Depressedly, Alex G)

Henry Demos & Lewtrakimou – I Was trying to Get There But it Was Hard to See From the Balloon (REVIEW)
(RIYL: experimental, psychedelic, lo-fi, incredibly cool/nice people <3)

Hermann Doose – Hawaii Was Beautiful
(RIYL: pop, surf rock, ARMS)

High Bloom – Haloed
(RIYL: ambient, electronic pop, Orchid Tapes)

Honeyuck – very tiny songs (REVIEW)
(RIYL: bedroom pop, twee folk, Frankie Cosmos)

Isabel Rex – American Colloquialisms/Two Hexes (REVIEW)
(RIYL: lo-fi, garage rock, Olive Drab)

The Island of Misfit Toys – I Made You Something
(RIYL: emo, indie folk, hardcore)

Jake Rollins – Spend a Few, Make a Few (REVIEW)
(RIYL: lo-fi, summer pop, slacker rock)

JANK – Awkward Pop Songs
(RIYL: power pop, emo, Algernon Cadwallader)

Jay Som – Untitled
(RIYL: dream pop, woozy rock, dreaming of summer)

Joplin Rice – Low Hum (REVIEW)
(RIYL: indie rock, lo-fi)

Katie Dey – asdfasdf
(RIYL: bedroom pop, experimental, lo-fi)

The Kickstand Band – In the Sun
(RIYL: indie pop, surf rock, )

Kip McGrath – S/T EP
(RIYL: lo-fi, bubblegum pop, twee)

Kitten Crisis – Have a good summer
(RIYL: pop punk, summer days, Radiator Hospital)

Lady Paw – Long Shadow

(RIYL: dream pop, experimental, Twin Sister)

Laurence – Happy Town
(RIYL: bedroom pop, folk)

The Le Sigh – Vol. II (close enough to 2015!)
(RIYL: bedroom pop, compilations packed with goodness, female-identified/non-binary artists)

Letters From Bummer Camp – Vol. 1
(RIYL: punk, Boosegumps/Long Neck/other NJ-indie artists, helping good causes)

Long Neck – Heights (REVIEW)
(RIYL: bedroom pop, Two White Cranes, Cyberbully Mom Club)

Kizzy Hall – one last shame spiral
(RIYL: scrappy rock, basement pop, Coma Cinema)

Mike Pace and the Child Actors – The Flood
(RIYL: box-office music from the 80s/90s, Oxford Collapse)

Miniature Philosopher – Leaving ‘Bula
(RIYL: Paul Baribeau, Nana Grizol, Talons’)

Mini Dresses – FOUR
(RIYL: dream pop, laidback vibes)

The Modern Folk – Surround Me / Leather Jacket (REVIEW)
(RIYL: lo-fi, DIY, shambling rock n’ roll)

Morning River Band – Abyssal Channeling (REVIEW)
(RIYL: folk, country, bar-room rock)

We’ll be sharing a new section of the list every day this week, so be sure to check back for the complete collection. If you find something you like, or think we missed something life-changing, then why not let us know on Facebook, Twitter, Instagram, Tumblr or good old email.

The post Favourite Free Music of 2015: H-M appeared first on Various Small Flames.

RIYL: bedroom pop, coma cinema, pet cemetery

Songs:

You can get be kind to me now for as much as you like via the teen love bandcamp page. You should also probably know that I’m kind of late to the party on this, so much so that this project has been killed by it’s owner. Luckily for all of us, Burns has already started another project, named Happy To See You, which you can check out on Soundcloud.

The post Flash Review: teen love – be kind to me appeared first on Various Small Flames.

Opener ‘dc’ is a gentle and reflective instrumental, full of wistful lo-fi acoustics which serve as a nice intro for what’s to come, before ‘alright’ gets things started proper, a bedroom pop track that will appeal to fans of Coma Cinema with its hazy downer vocals and clap-along percussion. The lyrics speak of a narrator severed from his surroundings, a collection of abstract images and innermost thoughts jumbled together in deadpan poetry.

“Sick until my hands fell still
my brother talks more than I do
I’m tired & skipping meals
laughter fills the living room
I can’t hear it’s so loud
eyes water from rubbing out

our parents hold the secrets
we’re trying to believe it”

A slower number, ‘Magick’ is just as morose, with the refrain “sit and wish for rain” filled with a little too much longing, while ‘champ’ is frustratingly fleeting, one of those songs that finishes almost as soon as its begun and has you reaching for the repeat button immediately. ‘Milk’ is even shorter, not managing to break the 30 second mark, sounding like a lost Johnny Foreigner demo recorded on a dictaphone. The song sees the narrator resorting to drastic action in an attempt to feel something:

“The treehouse we burnt down looks alright
the kids it belonged to cried & cried
i’m sick to my stomach
I feel alive tonight”

If the music is anything to go by, arson might well have done the trick. ‘Birthmark’ is warmer, not exactly happy but definitely gravitating somewhat to the positive end of the spectrum, the heavy lo-fi guitars threatening to swamp dreamy vocals but never quite managing it. ‘Birthstone (reprise)’ sees the positivity blossom. An instrumental track based around an audio sample of Dustin Hoffman’s philosophical discourse from the film I Heart Huckabees, the track sees a sense of wonder return to what has otherwise been a drab, defeated point of view, like watching the very beginning of a sunrise over a grey familiar city that can still surprise you in certain lights.

The final track ‘spirit world’ is once again instrumental, this time with electric guitars and shiny shimmering background atmospherics. As a finale it feels mightily hopeful, a far cry from the glumness that pervades a lot for this genre (and even the beginning of this EP), and leaves the release with a strange, vaguely transcendental aftertaste, a feeling which would make life much easier if only you could experience it at all times. The overall effect is one of change, a gradual warming, as if the narrator is being drawn through the vacuous space of depression and apathy to somewhere brighter and more fulfilling. Maybe he finally “got” the blanket thing.

You can get dietary requirements on cassette or as a name-your-price digital download via the Z Tapes Bandcamp page. If you can, get a cassette, because tapes are cool.

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Things open with ‘Pulled Over’, a deadbeat brand of grunge which positions itself in a pissed off zone somewhere between defiance and acceptance (“They wanna know who you are / they really wanna know who you are”). The title track follows  similar style but ups the boldness, adopting the sort of rock-star posturing familiar to musicians of a byegone age (“Call me extra bad / well I don’t care I’m just doin me now”), while ‘Don’t Fall Down’ is more passive aggressive, warning a friend or lover through a series of situations.

“Don’t fall down
theres nobody here to catch you
and you’d make us sad too
and you wouldn’t want that would you?”

‘Small Stuff’ is a cocky rock number with vocals that sound almost like something from Oasis, ‘Uncurl’ unfurls (sorry) from downtempo melancholy into a rather hectic ending, while ‘No Surprise’ wanders near Coma Cinema/Elvis Depressedly territory. ‘The Park’ sees the pace pick up with tight 80s guitars and racing percussion, like The Police writing songs about wandering, defiant teens.

“We climbed a tree to see how far we could see
but the moon was blinding and the town was dark.
Then a worker came in a pickup truck
and he took me aside to remind me they’d be closing soon.
Well fuck that, we’ll stay here forever.”

The nostalgia doesn’t end there. ‘Wiped Out’ is Britpop meets US rock, as if The Stone Roses had gone through a plaid phase and taken up skating, while ‘Don’t Turn Away’ is again reminiscent of Oasis and ‘Outer Line’ is a washed out slow burning grunge hit:

“The whole wide world is waiting, they talk all the time.
Outer lines fading, so take all you want.
I’m hoping now time has gone, you’ll find out you can”

You can get Extra Bad right now on the Generifus Bandcamp page, including on some rather nice cassettes.

Cover art by Paul Williams

The post Generifus – Extra Bad appeared first on Various Small Flames.

Farther Reaches was first released in January of 2013 and is a perfect example of what Aaron Powell strives to with the project. It’s lo-fi pop for the drone kids, sometimes atmospheric and echoey, sometimes blissfully dreamy, with faraway vocals and a warm gauzy ambience, like a downer version of Youth Lagoon’s début.

Virgo Indigo was released more than a year later, and this is reflected in the production quality, although the album still retains Fog Lake’s signature solitary and inward-gazing aura. Think the doleful bedroom pop of Coma Cinema meets the experimental pop music of Broken Social Scene. The album was originally released on cassette by Orchid Tapes, but has long sold out, so this is a great opportunity for anyone who missed it first time around.

You can get Virgo Indigo / Farther Reaches right now on double cassette via Z Tapes.

The post Fog Lake – Virgo Indigo / Farther Reaches appeared first on Various Small Flames.

‘Renegade’ is a placid intro, just Powell’s hushed voice and piano and atmospheric background vocals, the vague lyrics dealing with old mistakes and current worries, while ‘Andy’, a short and sweet track that clocks in at under two minutes. sets gentle, almost whispering, vocals in front of layers of instrumentation.  ‘Shanty Town’ is a slight change of direction with its looped drum sample, athough Powell’s morose vocals are still present, creating (in a typically opaque manner) a sense of regret and refusal to move on. Next up is ‘Antidote’, a lo-fi pop song which is all slapped drums and minimalist off-centre poetry:

“chew me out of this hole dear
ward me off with amethyst
half built walls still setting in
sold my soul to the devil yeah”

The title track is piano-led with earnest vocals, a sad song but one with something intangibly upbeat, some glimmering glow that suggests things aren’t all bad. Following that is ‘Running Out Fast’, with its echoey vocals and clinking percussion and dreamy vocals gliding through the gloom. ‘No Innocents (Bad Moon)’ is slow and winding, inching along in an eerie, shadowy ambience, and ‘Autumn 1998’ is led by acoustic guitar and sits on a backdrop of minimal piano and atmospherics, ending in an extended outro that buzzes and hums and whines. ‘Disposable Comatose’ sounds like a dream pop Coma Cinema track played at half pace, and ‘Bury My Dead Horses’ has chilled-out shambling rock and roll drums and sad mumbling vocals, eventually building with squealing electric guitars, as if something has come unloose and broken through the thick murk. ‘Midnight Cross’ is sad and sedate, with breathy floaty background vocals and an audio sample. It’s a lovely track and feels like sweetly sad, like a dream about a loved who has been dead for a long time. Closer ‘Dog Years’ is a slow and melancholy finale, with synth lines which swing around in slow motion.

Victoria Park is perhaps Fog Lake’s most accomplished effort to date, a complex collage of nebulous angst and heartfelt nostalgia, although not the rosy golden kind you might be used to. The cassettes are sold out, but you can still get it on a pay-what-you-want basis via the Fog Lake Bandcamp page.

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Details about Henoheno are scarce. We know that he is based in Japan, but that he wrote this album before leaving wherever he was pre-Japan (hence the title). Aaaand… that’s about it. ‘Destroy’ is a lo-fi bedroom pop song with misleadingly chirpy instrumentation and some rather dark lyrics. Imprisoned within the adolescent cell of Home, the narrator deals with suffocating anxiety and dread, denouncing his situation and pleading for help:

“I hate my parents they really fuck me over. I just want to leave this house.
I hate my family they really fuck me over. Don’t want to see them ever again.
Get me out, get me out, I can’t say it enough. Get me out, get me out ‘cause living here is tough.
I go out, I go out, the stress is killing me. I go out, I go out where nobody knows me.”

With it’s imperfect instrumentation and candid, painfully honest lyrics, Henoheno has more than a bit in common with Coma Cinema. Here unbearable emotional suffering is presented in a detached manner, as if the narrator has transcended into an outer body experience or else knows the pain so well it lacks the immediacy it once possessed. The talk of drastic action in the strangely catchy chorus only furthers this sense of dissociation between the narrator’s body and self:

“I stopped that feeling but it has come back. I feel like shit and I just want to destroy myself”

The album might not be the easiest of listens, but will speak to many who feel alone and afraid and in need of connection. In a world where social media pushes photoshopped portraits and misleadingly exciting lives, artists like Henoheno are needed to remind us just how hard life can be.

I Made These Songs Before I Moved will be released on the 2nd of July on Fox Food Records. You can pre-order it now via Bandcamp, both digitally or on limited edition cassette tapes (which are a lovely pea green, see below).

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