The post Wake The Deaf’s Favourite Songs of 2015 appeared first on Various Small Flames.

Evening Hymns – Quiet Energies
(REVIEW | INTERVIEW)

“The album takes the suffocating, nebulous shadow of grieving and distils it into something small and hard and strangely tactile, a mysterious object that will always be there in your pocket, radiating its secret and peculiar brand of comfort. This isn’t about forgetting death, or even really ‘moving on’, instead its about coming to a deeper understanding of one’s life, about how a person can be so shaped by another, and how such an impact can and should be a source of immense pride and joy, no matter how hard some days can be. In other words, Quiet Energies is about understanding how it is in fact life, not death, which shapes us and our view of the world.”

Kathryn Joseph – Bones You Have Thrown Me and Blood I’ve Spilled
(REVIEW)

“This is a simple album about things so complicated that it’s almost impossible to put them into words. It’s about those thoughts and feelings that we all experience but never admit, the things that we, be it through etiquette and embarrassment and fear, dare not confess to others or even ourselves. Bones You Have Thrown Me and Blood I’ve Spilled is an album about people: lonely and loved, corporeal and divine, mortal and terrified yet enduring with a resilient hope that never quite goes out.”

Young Jesus – Grow / Decompose
(REVIEW | INTERVIEW)

“As the title describes so neatly, Grow / Decompose speaks of the familiar paths that human lives follow. Despite all the strangeness, the characters here are going through the age-old problems – depression, anxiety, identity crises, existential terror – the problems of being You and You alone, Molina’s “curse of a human’s life”. For all of the complexity of our existence, we are still locked in the atavistic pattern of life and death, everyone more or less condemned to the same mistakes and fears and joys that we as human beings have been experiencing for generations.”

Danielle Fricke – Moon
(REVIEW)

“Moon is a lesson in stillness, a moment stretched out, questions asked but not answered, a monologue that might never leave the room. The wonder of the album is that the human emotions of love and longing never evaporate, continuing to push through the frost where they are warmed by earthshine, opening up the possibility that the very feelings which caused the pain could be the things which end it. So while the narrator is trapped, they never submit to the vacuous silence of space. Hopes are still hoped and dreams are still dreamed and wishes are cast from cold, cupped hands, skywards.”

Yowler – The Offer
(REVIEW)

“Burns with quiet intensity, its strange lyrics feeling oddly personal, giving the album the intimacy of hearing about someone else’s dreams. Guitars sidle and prowl like shadows and the whole thing seems on the verge of something vaguely dangerous. All eight tracks are a study in the art of minimalism, of the exchange between poetry and negative space. It’s certainly a lot more than just quiet and pretty folk music”

Advance Base – Nephew in the Wild
(REVIEW)

“I don’t know Owen Ashworth, and maybe I’m completely wrong, but he seems like a kind and empathetic generally nice human being, in the same way the best writers seem like people you could be friends with. Even if none of that is true, I guess it doesn’t matter – what is indisputable is the fact that he’s a damn good writer who tells stories that speak to and help us all. While it’s easy to cast him as the lonely boy in front of a keyboard, the truth, at least in my eyes, is that he’s often hardly there at all, a transparent gateway into the lives of people you’ve never met, feeling things you thought you had to suffer through alone.”

Siskiyou – Nervous
(REVIEW)

“Nervous is an album of dizzying scope and ambition, quite literally the tumult of sound and emotion inside one man’s head. It is by turns dark and creepy, shimmering and vibrant. Siskiyou have never sounded so eerie, so threatening, or so expansive. And I have to admit, I don’t think they have ever sounded so good.”

Samantha Crain – Under Branch & Thorn & Tree
(REVIEW | INTERVIEW)

“These are songs played like inner thoughts or secret diary entries of persons not usually able to or justified in expressing their true sentiments, people who are not as tough as they let on, but tougher than they think in the middle of the night. A selection of underdogs living the lives they have been given, not pining for more or complaining at a cosmic injustice. Quiet, noble people in the trenches of everyday life, those with the broadest shoulders and smallest voices and a hard, buried sense of pride who treat hardship like a member of the family.”

Lejsovka & Freund – Fatal Strategies
(REVIEW)

“Fatal Strategies inspires a multitude of strange, lateral thoughts – a soundtrack that doesn’t need a film. The musical translation of the postmodern ruminations of an over-active, twenty-first century brain. Music unearthed by a post-society people, who’ll turn it up loud and sit in their ruined cities, reclaimed by branches and vines, and wonder and wonder about us.”

Frog – Kind of Blah
(REVIEW | INTERVIEW)

“Kind of Blah is a product of this place, an album imbued with the spirits of a sparkling past… Judy Garland is America. Lusty teenagers are America. Jesus Christ is America. So is Dr Pibb and dusty valleys and shut-down bowling alleys and all the communal memories shared by millions just like you. Kind of Blah is America, the U S of A in eleven songs – quirky, joyous, breathless, exhausting, addictive, heartbreaking and downright weird, accelerating towards a distant horizon while keeping its eyes firmly on a halcyon past that sure seems like it should have been more fun.”

Oh, Rose – SEVEN
(REVIEW | REVIEW OF ‘SEVEN’, THE VIDEO)

“Olivia Rose’s voice carries the tracks beyond the genre norms into peculiar territories. Raw and versatile, her vocals range from whelps and wails to quiet, haunted whispers. On their début full length SEVEN, a record on which, if anything, Rose pushes things even further. Lean and wiry guitars lead proceedings while a lo-fi buzz envelopes everything, Rose’s words cutting through like shards of glass. The vocals have the quality of an exorcism, like the unnatural utterings of a twelve year old as some jaded man of faith flicks holy water at her forehead.”

Valley Maker – When I Was a Child
(REVIEW | INTERVIEW)

“When I Was a Child is an album about belief and love in a variety of guises, about the big and unknowable questions, from love and growth and family to God and everlasting life. It’s an album about all of us, basically.”

Eskimeaux – O.K.
(REVIEW)

“O.K. is about reality, the moment we live in and the people we share it with. It’s about the things we want and the things we wish for and the things we can’t control. It’s about doing the best you can and hoping it’s enough, about accepting and learning and growing so that whatever hand you’re dealt, you carve out some semblance of meaning and happiness to make everything worthwhile”

Aero Flynn – S/T
(REVIEW)

“This is not an album in which the emotional arc is self-contained and easily mappable… The redemption is the very fact that Scott is creating words and sounds, that he is letting others know where he is and how he is and why he is. The album is the flare of hope hanging in the night sky, burning bright and incandescent.”

Hip Hatchet – Hold You Like a Harness
(REVIEW)

“[Speaks] of that vulnerable core at the heart of every man, and the desperate, ridiculous attempts to suffocate it with cigarette smoke or drown it in whiskey or cover it over with scars. Hold You Like a Harness is an album about tough guys who know deep down that they aren’t so tough. Yeah they fight and drink and make merry, but they’re also sentimental and lovesick and terrified of everything.”

Mike Pace & the Child Actors – Best Boy
(REVIEW)

“Best Boy is for the children of the 80s and 90s, reminiscing about the age where entertainment exploded, where VHS tapes and cable TV transformed us into constant consumers. Of course, as consumers we were sold promises, told we merely needed x, y and z to be happy and successful and pretty and popular. It’s kind of ironic that a time built on visions of the future is now seen as a utopia locked in the past. Pace gets at this feeling by writing feel-good songs tinged with longing, nothing too sad or serious, nor a Father John Misty-style ironic assault. Instead, Best Boy is a wistful celebration of what we had and presents some convincing reasons for why we feel the way we do.”

Fanpage – LYA
(REVIEW)

“Fanpage’s music occupies a space between life and imitation, too mechanical to be described as organic yet too intuitive and mysterious for machines. It wanders a strange distance ahead of the human race, amongst a chaos born of our need for order. Love and delirium and bright white fear roil beneath the feedback, humanity kicking and twisting within a noise filled with myth and magic and dread. Terrifying and beautiful and glorious, LYA is an album for the information age, where data has exploded to incomprehensible volumes and become its own wilderness.”

Titus Andronicus – The Most Lamentable Tragedy
(REVIEW)

“Life (and especially mental illness) isn’t a neat Freytagian pyramid, so why should a representation of it conform to expectations? […] You are left with the impression that the band have said “fuck it, we’re doing it our way”, rejecting a clear genre in favour of whatever felt right at any given time. This kind of zealous self-belief in their own work is interesting, as it’s at odds with Our Hero’s struggles to accept himself as Himself, and sees Titus Andronicus cutting swathes through the field of wannabes, imposters and pretenders and stepping up to the plate as the twenty-first century’s bona fide punk rock band.”

Elvis Depressedly – New Alhambra
(REVIEW)

“This is not a born-again Love-The-World-Because-Life-Is-Great sort of album. Elvis Depressedly will not mend broken bones or cast out demons or have you walking across hot coals. Instead they say that afflictions are not all there is, that you are not defined solely by your circumstances. They say that peace and hope are never out of reach and offer an achievable version of optimism, one which does not require manic enthusiasm or God-like goodwill but instead a pinch of determination and a firm belief in love.”

Nathaniel Rateliff & The Night Sweats – S/T
(REVIEW)

“Nathaniel Rateliff & The Night Sweats could be your favourite anti-heroes of the sixties, the forgotten friend of Otis Redding and Sam & Dave, or maybe from even further back, a band of villains rolling into nameless pre-war towns to cause shitstorms in cowboy brawl-bars and put smiles faces for one night only. That there is a serious side is less a surprise than a foregone conclusion, because no man has conjured this kind of bone-level fervour out of a pleasant existence. No, here are people staring down the barrel, people stranded in a sea of beer, locked inside some breakneck motion in which a grin and a grimace are practically indistinguishable. Whether this is a defiant two fingers or last hurrah seems unclear even to Rateliff, himself too caught up in a compulsion to dance and scream and shout. Whatever you take from this record, one thing is clear: They can’t put you in the ground if you’re still moving.”

What were your favourite albums of the year? Let us know through one of the usual channels – we’re on Twitter, Facebook, Tumblr and Instagram.

The post Wake The Deaf’s Favourite Albums of 2015 appeared first on Various Small Flames.

Ben Seretan Group

“I wanted these recordings to sound huge. I wanted them to sound massive, gravitational, full of a swirling largeness that could eat up large portions of iTunes libraries” – we previewed Yellow Roses, a new release from Ben Seretan Group.

Yucatan

“Ethereal, celestial ambient post-rock” inspired by the Welsh landscape – we reviewed Uwch Gopa’r Mynydd, an album from Welsh band Yucatan

Benjamin Shaw

“comfortably sad and vividly alive, like watching rain fall onto a city from the window of a train” – a few words about ‘Pylon Pile-on’, the first song from Guppy, the upcoming album from Benjamin Shaw.

Long Neck

“Captures that feeling of creeping slowly over that threshold into adulthood and the revelation that it turns out not to be the whole new room you always thought” – Heights by Long Neck offers candid and reassuringly familiar thoughts on the plight of post-collegiate life.

Cyberbully Mom Club

“Music that feels like the words of an old friend, the sort of person who requires no formalities or effort and is happy to just sit and shoot the breeze” – a few thoughts on ‘For Luck’, the first song from a forthcoming EP by Cyberbully Mom Club.

Estan

“Raging against the pompous nature of professionals and academics…how ridiculous we are to think we can assign logic to a universe of chaos far too big for our tiny heads” – Our review of The Vanity of Reason by Estan.

Trenton Point

“Imagine John Maus teaming up with Small Black and The Cure to soundtrack a melodramatic 80s teen movie where the misunderstood hero finds herself walking home alone from the disco time and time again” – The three-song EP by Brooklyn’s Trenton Point, out on Vacant Magic.

The Wandering Lake

“Part indie rock and part psychedelic folk, all weaved together with Kupillas’ distinctive vocals, which are not quite a warble and not quite a croon and sometimes drawn out landscape-scale without a hint of breaking.” – we reviewed A Wend to Why, the new album from The Wandering Lake.

Ylayali / Lung Cycles

“enclosed in a sense of everyday melancholy…that feeling of long afternoons in gloomy rooms, when the rest of the human population seem faraway and indistinct, like figures from barely remembered dreams.” – Another great split cassette release from Lily Tapes & Discs.

Damien Jurado

“Jurado writes songs that reflect what it is like to be alive in the years either side of the millennium, songs for a landscape both cruel and kind, everyday and surreal, songs that can be sad and exciting and slightly scary and sometimes weird as hell” – We selected our very favourite Damien Jurado songs for our latest Through the Archives feature.

Mike Comite / Hop Along

“When I think about new rock idols, I don’t envision sold out arenas. I don’t hear Top 40 singles or perfect pitch, and I don’t think about stage personas and attitude. What I do think of is transparency, and a struggle” – Not quite last week, but Mike Comite of Old Best Friend wrote a fantastic piece about Hop Along for Property of Zack.

Coke Machine Glow / Jenny Hval

“Have you had breakfast? I was just about to make some eggs and huma—forgive me, I meant to say ham. Wink wink” – Coke Machine Glow presented a conversation about Jenny Hval’s Apocalypse, Girl between Hannibal‘s Hannibal Lecter and Will Graham, suggesting that I’m not the only person in the world who finds the show a little… overblown. All we need now are some meaningless close-ups of food and we’ll have an ‘intellectual’ TV hit.

Grantland / Jason Isbell

“It’s hard to keep up a James Dean type of facade if you’re thanking somebody for your salvation. But when you’re writing the kinds of songs that I do, I think your job is to try to be as honest as you possibly can and write about those things that make you uncomfortable sometimes.” – Stephen Hyden of Grantland talks through a list of Jason Isbell’s most gut-wrenching songs with the man himself.

Aero Flynn

We liked Aero Flynn’s self-titled album an awful lot. That’s why it’s so cool to see the band perform this live session for Audiotree.

Distant Records

“An hour of radical ladies influenced by that vintage surf rock reverb because, you know, it must be summer or something.” – Joanna, the face behind Distant Records, has a show on KPSU called The Muse in Music. This week’s show, ‘Must Be Summer or Something’, is all about… you guessed it, summer! Stream below or download this and previous shows over on the KPSU website.

Nice Legs

Seoul-based band and all round good eggs Nice Legs put together a video diary of a recent tour, featuring some lovely shots of the pair doing pretty much everything besides playing music. Check out their Youtube channel for other visual goodies.

And Finally… the 8tracks Playlist of the Week:

Heartbreaking Bravery‘s roundup of the best 2015 has had to offer so far is pretty comprehensive.

2015: Halfway Home from heartbreakingbravery on 8tracks Radio.

The post Week in Review: #7 (22nd – 26th June) appeared first on Various Small Flames.

March has gone and Spring has sprung. If you were too busy trying to top up your vitamin D levels with every weak little sunbeam then fear not, we have collected everything featured on Wake The Deaf in one handy little playlist. Follow the links in the tracklisting to be whisked away to the relevant pages.

We are taking a short break over Easter to gather our thoughts and hopefully return with something shiny and new. No promises just yet but keep an eye here, Twitter or Facebook for developments. Until then!

Tracklisting:

1. i. – Danielle Fricke
2. Dk/Pi – Aero Flynn
3. Summering – Summering
4. Chapter 1 – Human Behavior
5. Dogs 1 – Vio/Miré
6. A Home Just Over Yonder – Frankie Duff
7. M.M.G.A.T.M – Field Medic
8. Broken Necks – Eskimeaux
9. Maybe I’m Wasting My Time – Jake Rollins
10. God is Laughing at Me – Butterfly House
11. Hold Me Like a Child – GOOD, GOOD BLOOD
12. Invisible Cities – Beat Radio
13. Somebody Kill Me Please – LVL UP
14. The Plane – Andrew Hung
15. Roles Reversed – Kid In The Attic
16. Floral Mattress – Naps
17. Tennis – Derek Piotr
18. The Day is Past and Gone – Jean Ritchie
19. The Day is Past and Gone (Variations) – Sarah Louise
20. Buffalo Bones – Wes Tirey
21. Don’t Go – Radical Dads
22. Lucky Man – Joplin Rice
23. Billy Madison Victory Song – Krill
24. Demise – Psalmships

March 2015 Roundup from Wake The Deaf on 8tracks Radio.

The post March 2015 Roundup – A Mixtape appeared first on Various Small Flames.

I wrote a brief piece about Josh Scott’s Aero Flynn a few weeks back after reading some words by Field Report’s Chris Porterfield. The letter/essay (which you can read here) painted Scott as a supremely talented musician and songwriter and spoke of the self-titled Aero Flynn album as “quite seriously a life-or-death record” which should be heard as “a spit in the fucking face of the symptoms of disease, like rot and destruction and apathy and cynicism”. Given how much I respect Porterfield’s work, this sort of language got me excited.

The album begins with ‘Plates2’, a restrained track of gentle synths and countrified electric guitars, not a million miles away from Porterfield’s Field Report, while ‘Twist’, which brings to mind Radiohead, solidifies Scott’s subdued vocal delivery. ‘Dk/Pi’ opens with electronics backed by an ambient hum, the spacey bleeps and bloops of Spencer Krug’s Moonface layered on top of something older and less clear. Shambling drums kick in to create a sound akin to The War on Drugs, Scott’s dreamy vocals drifting through the nebulous arrangement with a delicacy that suggests impermanence, as if the sonic environment threatens to consume him. As the song progresses the instrumentation disintegrates, distorting into reverby fuzz and then a confused white noise before blinking out to leave a large cosmic swelling. This is an electrical anxiety, a malfunction in which communication is lost and isolation complete, Scott a lone astronaut surrounded by planetary screams and an airless dark.

The beginning of ‘Crisp’ is gentler but not without threat, an acoustic strum peppered with glitches which suggest the calm is a façade, a veil under which reside wrung hands and sharp edges. “Can I feel you?” Scott inquires over and over, one of many pleas for connection on the album, leaving the listener to wonder if he’s speaking to an individual or humankind as a whole. Or perhaps it’s just to himself in the mirror. Again the track unravels, the introduction of more prominent synths morphing in the final minutes into another hostile environment, a tumultuous sea or some geomagnetic storm that swallows Scott and drags him further from whatever he is trying to find.

Aero Flynn is at once urgent and suspended, trapped between fight and flight in anxiety’s masterful double bind. “I’m so afraid of everybody else” he sings on ‘Tree’, a stuttering electro-pop song, while even ‘Floating’, a soaring track that’s all blue skies and wide open vistas, is permeated with a sense of dislocation, as if the freedom is not his to own. ‘Maker’ sounds like a Broken Social Scene track where lonely sadness is presented as matter-of-fact, at least until the end where Scott utters a single word (a word I can’t quite make out – Home? Whole?) in a way which sounds like the genuine emotion breaking through, a yelp of helplessness or cry for mercy held back or choked out after the first syllable.

‘Brand New’ feels like a crescendo of sorts, a move away from the futuristic electronics that bring to mind space’s dark void in favour of something more organic, a swelling Precambrian atmosphere where conditions are harsh and life is scarce but maybe not for long. Closer ‘Moonbeams’, a piano led track with elements of The National’s slower work, provides no such epiphany. Slow and nervous and sorrowful, the last track again casts Scott as the outlying astronaut looking back at Earth, the final waves of instrumentation mimicking the beautiful, heart-breaking joy of realising you are but the tiniest of specks subject to the largest of forces beyond your control.

This is not an album in which the emotional arc is self-contained and easily mappable. Instead the record feels like a part of a wider narrative, Scott’s story, the illness and suffering and terror that Porterfield alludes to in his piece. The redemption does not begin with an epiphany on track seven and end with clear-eyed certainty. The redemption is the very fact that Scott is creating words and sounds, that he is letting others know where he is and how he is and why he is. The album is the flare of hope hanging in the night sky, burning bright and incandescent.

Aero Flynn is out now on Ooh La La Records (and Dine Alone Records in Canada).

The post Aero Flynn – s/t appeared first on Various Small Flames.

January was a bit of a scrappy month in terms of regular posts, but we still managed to cover some excellent artists. Why not catch up with any you missed with this tailor-made mixtape? Click the artist names in the tracklist to be whisked off to the review.

Tracklist:

1. Jesus in the 70s – Siskiyou
2. 2 Broke 2 Old – Gorgeous Bully
3. Another Way To Go – Adeline Hotel
4. Scene Sick – Diet Cig
5. Dog Burial Theme – Dicktations
6. Up the Academy – Mike Pace and the Child Actors
7. Con/ A Sewer/A Cat – Amateur Love
8. The End is a Vicious Thing – Puzzlecuts
9. Manic Pixie Dream Girl – Furnsss
10. Party Girls – Gleemer
11. Soft Reputation – Unlikely Friends
12. Passing Through – Harley Alexander
13. Coward’s Luck – Hip Hatchet
14. Memphis – The Wandering Lake
15. How a Resurrection Really Feels – The Hold Steady
16. Fire in My Eyes – Yours Are The Only Ears
17. Traffic is Okay – Sitcom
18. Gold & Rose – Dear Sister

Also make sure you check out our mammoth collection of our Favourite ‘Free’ Music of 2014. Finally, if you enjoy long, rambling pieces that try and draw connections between my favourite music and my favourite books, check out this piece on The Hold Steady’s Separation Sunday (Craig Finn said he enjoyed it, so it carries his stamp of approval).

January 2015 Roundup from Wake The Deaf on 8tracks Radio.

The post January 2015 Roundup – A Mixtape appeared first on Various Small Flames.

“The songs were better. The ideas were grander. The subject matter weirder. The narrators more honest and articulate. The frontman more compelling. The potential greater. Amateur Love were and remain the best band I have ever seen.”

Indeed, Justin Vernon re-released the Amateur Love record It’s All Aquatic on his label Chigliak, and in his description of the album he writes about Scott and himself occupying the Eau Claire scene and admiring one another’s music. “It was obvious to both of us, however,” he says, “who the better writer was.”

For whatever reason, Scott did not experience the same success that was bestowed on Vernon and the others. While Bon Iver, Megafaun, Peter Wolf Crier and Field Report have all achieved some degree of exposure and acclaim, things did not work out for Scott:

“Josh watched it all from Chicago and did nothing. Everyone tried to encourage him… He had opportunities for record deals. He had another supergroup of who’s-who indie rock royalty assembled for him… He got spooked again and went underground.”

You can read the rest of Porterfield’s piece here (and I suggest you do. It’s powerful, candid and sincere) but the important part is the conclusion that Scott wrote and recorded an album as Aero Flynn. While, as ever in life, things have not gone swimmingly since, Porterfield is convinced that the record is important:

“I believe that this record, this long-awaited record, is quite seriously a life-or-death record. Josh had to make it to stay alive. And it must be heard in the context of deferred health, deferred relationships, deferred dreams, deferred healing. As spit in the fucking face of the symptoms of disease, like rot and destruction and apathy and cynicism.”

This is something I feel strongly about. Many of the attempts to conquer the resulting apathy/cynicism in art come off as frilly and saccharine and vapid, avalanches of pure, distilled sincerity that are nothing more than irony in a different guise, a well cloaked nudge in the ribs (see: some of the Alt Lit guys). A “spit in the fucking face” sounds clear. If Aero Flynn sees Scott stand his ground and face things head on, this could be one special record.

The self-titled album will be released on the 10th March by Ooh La La Records. You can download ‘Dk/Pi’ now via the Aero Flynn website.

EDIT: You can now read our review of Aero Flynn here.

The post Aero Flynn announce new album appeared first on Various Small Flames.