Fast forward a little under two years and Just Cause are at it again. Just Cause Vol. 2 takes the blueprint of the original and expands upon it. There are over double the number of contributing artists, with an impressive total of sixty three songs from all corners of our current musical moment. Many of the artists have featured on these very pages (some multiple times), including the likes of Ben Seretan, Caitlin Pasko, Erika Dohi, hemlock, Mal Devisa, Michael Cormier-O’Leary, Nico Hedley, Pleasure Systems and Sam Wenc. There’s such a mix of genres, feelings and styles that there truly is something for everyone, and the minimum donation of $10 is brilliant value in anyone’s book.

But of course the compilation is about more than music. It is again raising money for another vital cause. All proceeds of Just Cause Vol. 2 go to the Immigrant Defense Project, who work tirelessly to fight the mass imprisonment and deportation of immigrants in the US. As their mission statement puts it: “IDP has remained steadfast in fighting for fairness and justice for all immigrants caught at the intersection of the racially biased U.S. criminal and immigration systems. IDP fights to end the current era of unprecedented mass criminalization, detention and deportation through a multipronged strategy including advocacy, litigation, legal advice and training, community defense, grassroots alliances, and strategic communications.”

Just Cause Vol. 2 is out now and available via Bandcamp.

Cover art by Aldrin Regina Valdez

The post Just Cause Vol. 2 appeared first on Various Small Flames.

Ada Lea – when i paint my masterpiece

Saddle Creek

How does someone approach creating their magnum opus? The title of Ada Lea‘s third album when i paint my masterpiece might set the bar very high for the Montreal artist, not least off the back off two stellar records released in 2019 and 2021 respectively, though spend time within the album and it becomes clear it is not so much concerned with the final product as the process of creation itself. Because contrary to its name, when i paint is no lesson in artistic obsession. Rather it is an ode to the value of stepping back and allowing life the space to unfold. Because while Alexandra Levy did indeed take a big swing, writing over two hundreds songs before slowly distilling the list into the final sequence, her artistic practise was intentionally spacious, curious and open-ended. Levy lists “resting, extending my creative reach, going back to school, studying painting and poetry,” as key components to this mode of working. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” The trick to painting a masterpiece, it seems, is learning to put the brush down every once in a while. Being kind to yourself and opening your heart and eyes to the surrounding world.

Adeline Hotel – Watch The Sunflowers

Ruination Record Co.

Across a string of recent albums, Dan Knishkowy’s Adeline Hotel has welcomed listeners into the most complicated, intimate recesses of life, examining themes of love, loneliness, codependency and loss from every angle you might imagine. He’s zoomed in so close the familiar is rendered strange, pulled back so far we get a bird’s eye view from above, each record seeing the sound shapeshift into something different in order to capture a new perspective or subtle change in the circumstances. There’s been solo guitar, piano ballads, languid jazz and raucous rock, but after the austerity and uncertainty of 2024’s Whodunnit, latest full-length Watch The Sunflowers pivots towards the opposite pole of the spectrum with a kaleidoscopic style. “The album is a reaction to the threadbare arrangements of its predecessor,” as we wrote earlier in the year. “As though, having endured the aftermath of loss, the colour has come back into Knishkowy’s world.” This change might not represent a total epiphany, Knishkowy’s lyrics are as questioning as ever, but rather a newfound clarity in which entrenched beliefs dissipate and such searching begins to feel meaningful.

Anna Tivel – Animal Poem

Fluff and Gravy Records

“’It’s hard to know how to hold a creative life in a time that feels fraught with venomous division, careening technological advance, and an ever-widening chasm between the affluent and the dispossessed,’ says Anna Tivel, the songwriter who has won acclaim with albums like Blue World, Outsiders (plus its stripped back Live in a Living Room twin) and Living Thing. Such concerns have long troubled Tivel’s work, the latter record being was what we called ‘a decidedly existential response to a period of entrapment and encroaching death.’ It used the pandemic as a platform to explore human suffering more generally, though dwell on such ideas too long and the entire artistic endeavour can come to seem futile. ‘What good are poems when affordable housing is scarce,’ as she continues, ‘the climate teeters on a dangerous edge, and war breaks out over misinformation spread by profit hungry algorithms?’ Tivel’s latest full-length Animal Poem is not so much an answer to this question as one artist’s small contribution towards one. A small piece of the colossal, communal whole demanded of us. The imperative to celebrate life and warn of its fragility. To remind everyone of just what we stand to lose should the malevolent forces of this world be allowed to grow.” [Review]

The Antlers – Blight

Transgressive

“’Lately I’ve become more aware of the cost of convenience, how the choices I make as a consumer seem insignificant, but can add up to something disastrous.’ So explains Peter Silberman of The Antlers when speaking about the origins of the project’s seventh album Blight. The record, written over several years and mostly recorded at Silberman’s home studio in upstate New York, utilises The Antlers’ distinctive mix of raw emotion and almost otherworldly arrangements to cast the present moment in a new light. One able to take something familiar and apparently ordinary and reveal it as anything but, be that the calamitous consequences of our consumerist culture or else the oft-ignored beauty of the natural world which stands to be lost as a result. As Silberman concludes: ‘These songs were born out of an attempt to come to grips with my guilt’.” [Review]

Benjamin Shaw – Strange Feelings in Nervous Business / Publicly Funded Research into Lofty Enchantment / Immortal Jellyfish

Hand Drawn Hand

Unofficially dubbed the “Fumblinginthedark trilogy,” the three albums Benjamin Shaw released in the second half of the year were as much an exercise in musical therapy as they were creations for an audience. Shaw’s life took a turn for the difficult, and he took refuge in a creative world of his own making, using (mostly) just guitar, synth and some pedals to establish its borders and depths. “In an attempt to try and escape my flailing brain I wanted to find a way of playing and improvising in a live way,” Shaw explains. “After a bit of experimentation and a few trips to Facebook marketplace, I eventually stumbled on a nice way of live-looping and building things in real time.” Luckily for us, Shaw does not close the door behind himself. The trilogy, best experienced as a whole, offers a life line to anyone in need of time out of the harsh realities of the day to day.

Carson McHone – Pentimento

Merge Records

Pentimento is a term from art history that refers to the traces of an earlier painting that show through layers of paint on a canvas. A thought or sketch or discarded draft, even a different painting entirely, that nevertheless informs the final work, if only in its absence. The concept is central to Carson McHone’s latest album, which itself is built from (and literally on top of) a vast catalogue of inspirations, from literature and field recordings to diary entries, watercolour paintings and lines of poetry scribbled on postcards. The result is a folk rock record rich in detail but with a loose artistic flair. Barrelling rockers sit next to beautifully simple pastoral folk, interspersed with snippets of poetry and snatches of other recordings, lost conversations, forgotten songs, fragments that drift in and are suddenly gone. Set against what McHone describes as a “backdrop of global crisis,” this mosaic manages to ponder questions otherwise too big to broach, its apparently dissonant style giving some voice to the unsayable and ultimately exploring how love and beauty can persist in a world in such a dire state.

Craig Finn – Always Been

Thirty Tigers

The theme of redemption has long run through the work of Craig Finn, most notably the resurrection arc of Holly on The Holy Steady‘s seminal Separation Sunday, but also across his solo catalogue, as with the evocation of the story of Ulysses S. Grant on 2019’s I Need a New War. Finn’s characters are often on the margins, existing in the aftermath of lives lived too fast or too hard, searching for salvation in any way it might avail itself, even if it’s just leaving enough of a story behind that people will remember your name. The protagonist of Finn’s sixth solo full-length Always Been is no different, a man with no faith who nevertheless joined the clergy, seeking the security and gravitas afforded to the role (“Cause when I was a child, I used to fixate on the chaplain,” he sings on opener ‘Bethany’, “The way he brought the widows all to tears / And that looked like a decent way to make a little living here / Gave myself to God for a few years”). Only our would-be priest quickly falls from grace and into the arms of any number of vices, and Always Been charts the slow arc towards his own redemption. With this clear focus and a polished LA aesthetic, the record could be one of Finn’s most narrative to date, though various tracks drift from the central character to illuminate other corners of his world. And it’s a testament to Finn’s writing that these songs are some of the highlights. Recalling the likes of Zevon or Browne, ‘Crumbs’ is golden and gathers momentum, while the quasi-bonus track ‘Shamrock’ is a stripped-back slice of traditional folk, though both capture pictures of people driven to desperation by the ratcheting pressure of life, yet always reaching into the future, ever hopeful of that one break which might erase the past and elevate them above the present. The moment they’ve always been waiting for in which they might be saved.

Dao Strom – Tender Revolutions

Antiquated Future Records / Beacon Sound

“Born in Vietnam and now based in Portland, Oregon, Dao Strom is an artist interested in overlap, convergence and symbiosis. Someone, as per their bio, ‘who works with three ‘voices’—written, sung, visual—to explore hybridity and the intersection of personal and collective histories.’ The result is the perfect marriage of style and substance. Music, poetry, writing and various amalgams of all three cross-pollinated by collaboration and linked across time and geography, giving voice to those who might otherwise be silenced and breaking down established boundaries. Drawing on the sensibilities of ambient, folk, post-rock, spoken word and sound collage, Strom’s latest full-length Tender Revolutions is the embodiment of this style. A joint release between Antiquated Future Records and Beacon Sound, the album comes complete with an accompanying book, released via The 3rd Thing press, to support and expand upon its themes. ‘These songs are, for me, inward and outward (ex)tendings across boundaries of self, diaspora, modalities of voice, across fractures and refractions,’ as Strom explains. ‘They are attempts at honoring small points and lines of connectivity I’ve been entangling in, for over a decade now, namely through creative collaborations and friendships with other Vietnamese women writers and artists’.” [Review]

Daughter of Swords – Alex

Psychic Hotline

“In some ways Alex is the perfect spring record. There are quiet moments of green shoots and bursting buds, and others of sudden, somewhat shocking, metamorphosis. The brash pop moments must be how a butterfly feels after emerging from its chrysalis, suddenly brighter, bolder, realising it has these beautiful wings and deciding to flap them. Messy in the best way possible. [Daughter of Swords‘] Alex Sauser-Monnig takes on the overwhelming, confusingly contradictive nature of contemporary life by mimicking it in music. If their career thus far has been defined by the restraint and minimalism of voice and (sometimes) guitar, Alex is something of its inverse, throwing everything into the pot and stirring gleefully. There’s danceable electronic pop and rumbling indie rock, easy melodies and tangles of synthetic textures… Left-field pop structures and inventive electronics create something equal parts catchy and deep. Plus, its moments of political awareness mean the introspective moments of self-reflection feel less like selfish solipsism and more a blueprint for liberation. A less-than-gentle nudge to defy convention and have the courage to live life as oneself in a world that feels increasingly allergic to outliers and eccentrics.” [Review]

Dean Johnson – I Hope We Can Still Be Friends

Saddle Creek

“Well, I’m feelin’ so much better now,” sings Dean Johnson in a moment that encapsulates his sophomore record I Hope We Can Still Be Friends. It’s the beginning of a song, his emotionally piercing throwback vocal style ringing out unadorned like a breath of fresh air, and it’s easy to imagine the bustling barroom fall to silence as people turn to listen. But, typically for the Seattle-based songwriter, the initial relief is something of an emotional sleight of hand. “Since I had my mind erased,” he continues as the true scenario reveals itself, “If I passed you on the street, I would not recognize your face.” What at first seemed like an instance of self-actualisation was actually just heartbreak wrapped up in a pretty melody and a joke about electroconvulsive therapy. It’s illustrative of a record that effortlessly marries sardonic humour and sincere vulnerability, icy bitterness and easygoing charm. Johnson croons like a long-lost Everly brother as he delivers tragicomic missives on our weird world and the sad and absurd characters that populate it, at times approaching broad social commentary and others bitingly personal. It’s Johnson with his complexities and foibles on full display, prickly and sensitive, hopelessly romantic and unapologetically cynical, often within a single song.

Devin Shaffer – Patience

American Dreams

“As Patience is the first album on which Devin Shaffer is joined by a group of supporting musicians, you’d be forgiven for anticipating something even richer and more intricate than her previous work. But the reality is something different. Because rather than showing off an increasingly ornate, layered sound, the album pivots towards the opposite. A sound stripped back and intimate, swapping out its textures in favour of increased precision, the instrumentalists coming together in a collective effort towards clarity. This turn towards lucidity speaks to the themes of Patience too. If previous album In My Dreams I’m There represented an arc of sorts, Shaffer moving from confusion and hesitancy towards a sense of acceptance, then the new record instead interrogates just what it requires to achieve lasting peace. That is, to reject the idea of a neat arc entirely, resist the temptation to believe one achievement or epiphany will solve your life for good. The songs of her debut sound like Shaffer battling against the noise of the world in search of an answer, but in dropping this ambient backdrop, Patience ceases the fight. Submits to the messiness of our interiors and indeed the wider world.” [Review]

Dylan Henner – Star Dream FM

Phantom Limb

“‘Late one evening, I was listening to the radio alone at home. I couldn’t find the station I wanted, so I shifted the dial around for a while. Between frequencies, fading in and out of fidelity, I found a station I’d never heard before. To my amazement, the station was broadcasting my own memories. Memories from when I was seventeen.’ So explains Dylan Henner of Star Dream FM, the enigmatic producer using this idea as the basis for a collection of songs which explores both the tactile experience of adolescence and the nostalgia of times now past. ‘The result feels personal,’ we wrote in our review, though there’s the undercurrent of something different. The sense Henner is not so much tapping into his own memories but a kind of collective yearning. One developed not through individual experience but the culture itself. The cinematic version of youth delivered to us so steadily we come to mourn it as our own.” [Review]

Ear – The Most Dear and The Future

Self-released

The project of Yaelle Avtan and Jonah Paz, ear make glitchy collages of indie pop and electronic music that draw on the duo’s background in “experimental electronic hardcore” and twee folk. Following some near-viral success on streaming services, debut album The Most Dear and the Future presents their unique and oddly compelling style to the world proper. Each of the eight songs are short and sweet, slipping effortlessly from gentle, near-whispered pop to headphone-shaking electronica in the blink of an eye. It all feels very now. Like indie pop for the age of short form video, kind of wild and hyperactive but also sad and lonely in a way that’s best described as nostalgia for something that has never existed. Imagine a dark room lit only by the harsh blue light of a screen, the world and everything in it whizzing by fried eyeballs in a blur of angst and emotion. It would fit on the soundtrack to the next Jane Schoenbrun film for sure.

Eliza Niemi – Progress Bakery

Vain Mina / Tin Angel Records

“To describe the music of Eliza Niemi as pop music feels like both an over- and understatement. On the one hand, these are deeply quirky and unique songs, built with an artist’s intuitive sense of composition and with little regard for conventional structures. But they are also undeniably infectious, packed with of melody and a sense of playfulness that feels baked into the record’s very bones. Which makes its sense of childlike curiosity (admittedly with more than a little added grown-up cynicism) feel genuine rather than cloying or twee. Niemi isn’t painting a pastel-hued cartoon of real life, but focussing on its gritty, peculiar details. And at the heart of it all are those questions, some funny and knowing, but others piercingly direct and vulnerable, evoking a very relatable sense of bewilderment at trying to find one’s place in this weird world. “Will it be what I wanted?” as she asks on ‘Pocky’. “Will it be how I pictured it?’ It’s a style full of wonder, though not often in the starry-eyed-awe-at-the-majesty-of-the-universe sense. Rather something more literal and commonplace, with Niemi often picking up thoughts and ideas and putting them down again, only to return eight songs later to wonder anew. ” [Review]

Ella Hanshaw – Ella Hanshaw’s Black Book

SPINSTER

Ella Hanshaw always dreamed of being a country star. Born in Procious, West Virginia in 1934, Hanshaw took up the guitar when she was twelve and hardly put it down for the rest of her days, writing hundreds of songs and touring across the state with her quartet, though never recording professionally or releasing anything in an official manner. Released five years after her death, Ella Hanshaw’s Black Book corrects the latter fact, Hanshaw’s granddaughter curating a collection of tracks recorded at home and church, not only celebrating and preserving the legacy of one of Appalachia’s most prolific songwriters, but allowing her devout message to continue to find new ears. “By the late 1970s, her music had become inseparable from her faith,” as the album notes describe. “She considered her work to be authored by God, who would ‘give’ her a song—both lyrics and melody—which she could write down and complete in fifteen minutes”. But ultimately, Ella Hanshaw’s Black Book is more than a document of one singular artist’s faith and vision. It is proof of the rich, lasting history of artists working in the margins, outside of the mainstream, and the ways in which music might allow a person to transcend the hand they are dealt in life. “By writing gospel music, performing in church, and viewing her artistic talent and inspiration as gifts from God, Ella framed her work in such a way that she could still claim artistic agency while avoiding individual attention that may have been perceived as self-indulgent and socially unacceptable,” as the album notes continue. “Resistant to the potential consequences of a professional music career as a woman and mother, Ella chose to keep her music a non-professional pursuit, shared with family, community, and God, which allowed her to uphold the duty she felt to all three.”

Erika Dohi – Myth of Tomorrow

Switch Hit Records / Figureight Records

“Described as ‘a sonic meditation on catastrophe, resilience, and rebirth,’ [Erika Dohi‘s Myth of Tomorrow] builds upon the eclectic style of predecessor I, Castorpollux to push Dohi’s sound in new directions, utilising a variety of sensibilities from dance, jazz, ambient and classical modes to create soundscapes as singular as they are striking. The record draws its title from the Taro Okamoto’s mural of the same name, and the title track draws the clearest line between the two artworks. A song concerned with the endless cycles of existence, not only asking what they demand of us but also how we might find peace and healing within the recurring patterns of life.” [Review]

Florry – Sounds Like…

Dear Life Records

“Positivity permeates [The Holey Bible],” we wrote of Florry‘s seminal album back in 2023, the release seeing Francie Medosch and co. embrace a country aesthetic but swerve the lonesome blues so common in the genre in favour of something more uplifting. “Through woozy waltzes, fuzzy Country-fried rockers and no small amount of narrative attention, Florry rise from an uncertain, bleak world like a Roman candle, as though the only way to live nowadays is to meet despair with an equal and opposite force.” With this style established, follow-up Sounds Like… fires on all cylinders from the off. The release of a band who have nailed down their identity and are now able to explore is vast, idiosyncratic terrain, jamming the pedal to the floor in order to cover as much ground as possible with good old fashioned rock and roll abandon. When Medosch cites The Jackass theme song as a big influence on the record, you sense the inspiration was less stylistic than spiritual. A calling to gather a group a pals together and whip up a storm, even if it means a little chaos and risk along the way.

Friendship – Caveman Wakes Up

Merge Records

“Reconnected trailer hitch / Rerouted drainage ditch / Resenting your fellow man / Shotgunning a Busch Light can.” So plays the average day for the protagonist of ‘All Over The World’ from Friendship‘s Caveman Wakes Up, a hard-working man going nowhere fast, his days locked into an apparently endless cycle of effort, small comforts and jaded acceptance. Yet true to spirit of the album, this apparent mundanity is layered with a plethora of different experiences, revealing the everyday to be more absurd than ordinary. Take how the simmering class consciousness which spikes the nine-to-five (“Got a job pulling weeds / On other people’s property / Shoring up liquidity / On other people’s property”) coexists with a near total capitulation to the boss’s desires (“Boss wants to know where you’re at […] Boss calls and you cave just like that”). Or how laying a lawn, surely the most banal, consumerist and unnatural thing on this manicured-green earth, leads to a chance encounter with the divine (“Dandelion seed caught your eye / Felt the beating heart of God / Laying down a roll of sod”). The song is just one example of a style running through Caveman Wakes Up, and arguably Friendship as a project more widely. A small world in which life is boring and surprising, shocking, magic and lonely all at once.

Frog – 1,000 Variations of the Same Song / The Count

Audio Antihero

“An album which runs the gamut between indie rock, alt country and smoky lounge cool, and packs the expected density and diversity of references from a Frog release, with Daniel Bateman nodding to My Chemical Romance, Gucci, Stillwell construction supplies, fatherhood, the 6 train and seemingly a million other things. But for all of these maximalist sensibilities, the record also lives up to its title by repeatedly orbiting the same ideas […] The effect is something like that of a phylogenetic tree, where the same amphibian DNA passes through generation after generation, morphing through all manner of phenotypes yet retaining that Frog spirit through them all. Just where this organism will evolve next is anyone’s guess, but we have a thousand possibilities to get through yet.” [Review]

Fust – Big Ugly

Dear Life Records

“[Fust‘s] Big Ugly functions as a detailed picture of such a [contemporary Southern] milieu, offering small glimpses into the lives of various characters which move across the frame. The artwork is a mural taken from the Big Ugly Community Centre [in West Virginia] that once served as a backdrop to a school play. Here it serves an identical purpose, albeit in a more abstract light. We meet people wandering as though dazed in the post-industrial present, pining for hard labour and good wages, struggling to find hours selling junk at the gas station. Or struggling with small home improvements as their houses slowly fall down around them. But also, most importantly, we see life continuing its rhythms, memories repeating, hopes emerging still. A picture of Appalachian or Southern life which does not yearn for escape or preach self-improvement, but loves and dreams instead. ‘They’ll have to haul me off,’ as the title track opens. ‘Off a down slope / in some front end loader / in a pine box / if they want me gone / if they want me lost / If they don’t want my lonesome here / they’ll have to haul me off.’ You are from where you are from, after all. A squalid home is home nonetheless, and the funny thing about fondness and pride is how they survive the most naked of truths. Fust aren’t interested in willful ignorance, rose-tinted reminiscence or giddy myth-making. The record wears its name for a reason. They want the big ugly whole.” [Review]

Greg Jamie – Across a Violet Pasture

Orindal Records

“‘I’d get away from that body / there’s nothing left we can do / and if I ever come back from the country / I’m going swimming with you.’ So sings Portland, Maine songwriter and painter Greg Jamie in the opening lines of ‘I’d Get Away’, the first track from his new album Across a Violet Pasture. The cryptic, almost contradictory verse is a fitting introduction for a full-length which exists at the intersection of things. The real and unreal, the physical and spiritual, the personal, the historical and the mythic. One which does not so much blur the boundary between such categories as embrace their duality, the real world punctuated with high strangeness and vice versa, the known and unknown superimposed. The result is undeniably weird yet intrinsically human, demonstrated by an opening verse where the image of floating away from the body is paired with the pleasure of floating within it. As though to exist is to both long for transcendence from corporeal reality and desire an unending experience of bodily sensation. We want to feel forever, yet wish for something more.” [Review]

Hannah Frances – Nested in Tangles

Fire Talk

“Released in 2024, Hannah Frances‘s album Keeper of the Shepherd represented an act of exhumation, digging through the remnants of the past to unearth those things which had long been lost. The process led to no small amount of dirt under the fingernails and demanded a fundamental vulnerability, something Frances happily endured in order to undertake this vital process […] Frances’s new album Nested in Tangles plays like the thicket of flora which sprouts from the ground broken by its predecessor. The life brought forth from turned-over earth. A diversity present not only in theme or tone but style itself […] A healthy and fulfilling life is never just one thing, a monoculture neat and constant and happy, but rather an ecosystem of moods, periods and personas. A place where our different selves coexist and even care for one another, and there’s space for every shade of shadow and light.” [Review]

herbal tea – Hear as the Mirror Echoes

Orindal Records

“The recording project of Bristol‘s Helena Walker, herbal tea takes the DIY intimacy of bedroom pop and expands outwards, building what might otherwise be humble demos into rich, nuanced soundscapes, as though the original basis of each track is merely a door through which entire new worlds lie in wait. The result is a sound rooted in the personal yet innately transcendent. An ethereal space not unlike a dream, stitched together from memories, desires and nostalgic longing yet impermanent by its very nature. A place, that is, removed from the physical demands on existence and thus the ideal vantage for self-reflection. One imbued with the weightlessness of flying or floating which offers the opportunity to examine the familiar without the everyday burden of the body.” [Review]

HLLLYH – URUBURU

Team Shi

“Anyone clued into the indie scene of the noughties will likely have encountered The Mae Shi, the outfit which delivered a blend of art rock, punk, pop and electronic sensibilities bundled up in a manic, madcap intensity, culminating with acclaimed Biblical full-length HLLLYH in 2008. The project has been through various stages of hiatus in intervening years, but now founding member Tim Byron has rounded up the original cast for a new album, URUBURU. Only when Jeff Byron, Ezra Buchla, Brad Breeck and Corey Fogel got together, the result felt less like the last chapter of the Mae Shi and more like a fresh beginning. Hence a new name—HLLLYH. Described as ‘an end-of-the-world story written on a mobius strip,’ URUBURU shows HLLLYH have hit the ground running, displaying no let up from the infectiously inventive sound that won the Mae Shi so many admirers. ‘Built from bright colors and loud sounds, it is a puzzle to be solved written in English, Morse code, and machine language,’ as the band write of the record. ‘It tells several interconnected stories of punk house party disasters, young monsters in love, space travel gone wrong, adventures in other dimensions, showdowns with malevolent forces, and the never ending quest for meaning.'” [Review]

Hour – Subminiature

Dear Life Records

Collected from recordings captured on a variety of devices across more than two years of touring, Hour‘s Subminiature is less an ordinary live album than a celebration of the entire project. Led by the apparently inexhaustible Michael Cormier-O’Leary, the Philadelphia-based ensemble has established itself as a dynamic, ever-shifting entity over recent years, albums like Anemone Red, Tiny Houses and Ease the Work practising an inventive, curious style of chamber folk never content to stay in one place. Thus the form of Subminiature could not be more fitting, the release positioning tracks from all previous albums alongside new material and seeing the band shift from number to number along with the settings and venues. All in all, Jacob Augustine, Jason Calhoun, Em Downing, Matt Fox, Peter Gill, Lucas Knapp, Evan McGonagill, Peter McLaughlin, Keith J. Nelson, Erika Nininger, Abi Reimold and Adelyn Strei all appear, with Cormier-O’Leary the only constant. But spend any time at all within this music and it becomes clear that, far from losing something with the perpetual change, such fluidity is itself the very essence of Hour.

Jahnah Camille – My sunny oath!

Winspear

Jahnah Camille “has a knack for combining emotion and self-awareness,” we wrote of 2024’s i tried to freeze light, but only remember a girl, as the EP reached across genres to create a nuanced tone “entirely committed to the feelings being explored but never lacking a wry wrinkle to add that extra layer of personality.” With help from producer Alex Farrar (Wednesday, Indigo De Souza, MJ Lenderman), Camille’s latest release My sunny oath! takes this style to new heights, tapping into a freshly thunderous sound to capture the tumultuous experience of young adulthood. Shoegaze, alt-rock and grunge influences assert themselves more prominently, and while the same sweet and sour approach of its predecessor allows for both heart and sardonic humour, there’s a notable new edge to the tracks. A kind of self-defensive toughness that gives the sense of a young woman passing into a hostile world and coming to realise what it takes to survive.

JJJJJerome Ellis – Vesper Sparrow

Shelter Press

“Through a combination of saxophone, organ, hammered dulcimer, electronics and vocals, Grenadian–Jamaican–American artist JJJJJerome Ellis creates atmospheric, often improvisatory soundscapes able to disrupt the normal flow of things. Having had a stutter since childhood (the stylising of ‘JJJJJerome’ is a reference to the fact they most frequently stutter their own name), Ellis sometimes found it difficult to express themselves verbally while growing up, though soon found an outlet after discovering the saxophone in seventh grade. The creative practice which developed from that point of origin does not exist in spite of the stutter but in fellowship with it, Ellis developing into a multi-instrumentalist interested in how both stuttering and music can suspend or expand time, working to utilise this fact to further the artistic and thematic potential of their work […] Vesper Sparrow uses this as a framework around which to build something even more ambitious. A space carved out of the hectic every day into which the listener is invited, Ellis using the album as a kind of intermission within ordinary time where we might consider histories both personal and communal, as well as those of the natural world, and thus come to honour and understand ourselves more faithfully. Blackness is central to the record, as is lineage and spirituality, and the result is something which upends the linearity of experience to invite us back into the present.” [Review]

Jouska – How Did I Wind Up Here?

Koke Plate

“While the previous Jouska record Suddenly My Mind Is Blank was crafted from a notably polished electro pop, How Did I Wind Up Here? record sees [Marit Othilie] Thorvik favour something more textured, wrapping raw emotion with a gauzy style. The result, as [single] ‘Pierced’ shows, owes a debt to both dream pop and trip hop. A sound full of contradiction, somehow managing to conjure a sparse night time atmosphere without sacrificing any weight, and managing to pair emotional immediacy with an ambiguously dreamy drift.” [Review]

Kitba – Hold The Edges

Ruination Record Co.

“Proof that art can offer a picture of identity more nuanced than simple labels,” we wrote of Kitba‘s self-titled album back in 2023. “A deeper understanding reached via an embrace of confusion. Identity as an ongoing thing.” New full-length Hold the Edges continues and deepens this exploration of identity, the Brooklyn-based harpist and songwriter calling on a number of friends and collaborators to offer a typically lush, detailed and intuitive sound which works through a particularly tumultuous period while refusing to be dragged down. The path to self-discovery is not a finite number of epiphanic steps but rather something convoluted and unending, Kitba seems to understand. Full knowledge is always just out of reach. But while this might be frustrating in the present, it can be freeing across time, allowing skins to be shed, renewal to manifest, life to be leavened by an ongoing sense of possibility. “Am I enough to carry me through?” asks closing track ‘Cards’, showing that doubt will always be close by, but step back and consider the record, and it becomes clear Hold The Edges has provided the answer already.

Kristin Daelyn – Beyond the Break

Orindal Records

“’I used to hurry everywhere, / and leaped over the running creeks. / There wasn’t / time enough for all the wonderful things / I could think of to do / in a single day. Patience / comes to the bones / before it take root in the heart / as another good idea.’ So wrote Mary Oliver in her poem ‘Patience’, the principle inspiration for the lead single of Kristin Daelyn‘s Beyond the Break. ‘Patience Comes to the Bones’ introduces a collection of songs which looks to carve a space of reflection and peace within the tumultuous present, approaching the dissatisfaction and suffering common to us all from a decidedly compassionate angle. Supported by guest appearances from Dan Knishkowy (Adeline Hotel), Danny Black (Good Old War, Gregory Alan Isakov) and Patrick Riley, Daelyn’s soulful vocals and intricate, intimate guitar welcome the audience into the space so that we too might re-examine our lives from new angles and come to appreciate the fellowship to be found in the universality of longing.” [Review]

Lael Neale – Altogether Stranger

Sub Pop

Written after bouncing between rural isolation and urban rush for several years, Lael Neale‘s Altogether Stranger lives up to its title in more ways than one. “On returning to Los Angeles I felt like an extraterrestrial landing on a dystopian planet,” she explains, “so I’m writing from the perspective of a being from another realm witnessing the peculiarities of humanity.” Thus the ‘stranger’ of the title functions as both a noun and a verb, Neale approaching LA from an oblique angle, an alien who sees the city’s banality as bizarre and its absurdities even weirder. Clocking in at a succinct thirty-two minutes, the record seems to promise more of the tight, electrical minimalism established across previous LPs Acquainted With Night and Star Eater’s Delight, though in reality holds some of Neale’s most adventurous work to date. Because scratch the sleek surface and you’ll find a dizzying concoction of moods and influences, the album a mirror of the odd, alluring city which serves as its setting, enemy and muse.

Last Quokka – Take The Fight To The Bastards

Self-released

Not every band would kick off their new record with the story of an anticapitalist mihirung (a now extinct Australian bird also known as the ‘demon duck’ or ‘thunder bird’) tearing through the oligarch class of Aussie society. But Last Quokka are not every band. Woolworths, Woodside and favourite enemy Gina Rinehart all get their comeuppance at the hand of this vengeful living fossil within the first three minutes of Take The Fight To The Bastards, setting the tone for a record as fun and furious as anything the Perth punks have put out to date. Across the subsequent ten tracks we get diatribes against the insidious rise of identikit watering holes (‘Save Our Pubs’), condemnations of the greedy and their exploitation (‘Cost of Living’, ‘Out for the Weekend’) and even an ode to the queen of SW6 Sam Kerr (‘Stupid White Bastard’). The newly expanded line-up push the sound further than ever and give Trent Rojahn’s acerbic vocals the backdrop they deserve. We might live in disheartening times but, with the fire of Last Quokka behind us, retaliation starts to feel possible once again. As Rojahn sings on call to arms ‘Murujuga (DBH)’:

Disrupt Burrup Hub
And industry expansion
Take the fight to the bastards
And paint the town yellow
Take the fight to Woodside
Take the fight to Rio Tinto
Take the fight to BHP
Take the fight to the police
Take the fight to the bastards

Leanne Betasamosake Simpson – Live Like The Sky

You’ve Changed Records

“Our minds are spread out all over this place / full of persistence and surrounded by grace, / their starving lies are crumbling all around / but we belong to this sacred ground.” This verse, taken from the opening track of Leanne Betasamosake Simpson‘s latest album Live Like The Sky, not only encapsulates the spirit of the record, but illuminates the heart which drives the Michi Saagiig Nishinaabeg writer, scholar and artist’s work more generally. Like her novel Noopiming and more recent genre-bending book Theory Of Water, Live Like the Sky is both an expression of struggle and celebration of history. It confronts the violence and genocide of the White Western project and reclaims the lands it tried to make its own, all while documenting the catastrophes the colonial powers have brought upon themselves and offering modes of survival and resistance. The result is a castigation (‘Disintegrations’), an elegy (‘Nizhooziibing’), a practical manual (’85 Dollars an Acre’), a prayer (‘Minode’e’). A reminder of the interconnection of all things, and the dire consequences to be faced by those greedy or foolish enough to believe they can rule on their own. “Courage sits and smiles, breaks open the overpass,” Betasamosake Simpson sings on ‘Murder of Crows’. “She sings a hymn for the cars at the pipeline mass / the winds pick up and the snow falls from the lake in the sky / she packs up and drives on to the next lie / she sings no god no boss no husband no state / she sings to me with a murder of crows.”

Leilani Patao – daisy

Audio Antihero

“Starting in 2021 at the tender age of seventeen, Brooklyn (via Los Angeles) based songwriter Leilani Patao put out a series of DIY self-releases, culminating in the acclaimed 2024 album But What If? which earned, among other things, a feature on The Tonight Show starring Jimmy Fallon. But despite this success, Patao grew disillusioned with the biz, not an unfamiliar story within a contemporary music scene which demands not only on hard work in an artistic sense but an even greater degree of effort (and luck) be spent on self-promotion, algorithmic appeasement and any number of equally soul-destroying things. Many criticize this system but few take concrete action against it, which makes Patao’s new EP daisy all the more notable. A release which promises to shun streaming services, playlists and social media in order to focus on what really matters, and thus an experiment to judge what exactly is possible within the conditions of the twenty-first century. As Patao asks: “Is it possible to share my music properly, pay everyone who was involved, get paid myself,’ Patao asks, ‘and not have to interact with the many systems in place that make me dread music?'” [Review]

Léna Bartels – The Brightest Silver Fish

Glamour Gowns

“‘Only the brightest silver fish / Shows when the light hits,’ sings Léna Bartels on the title track of her second full-length The Brightest Silver Fish, out now via Glamour Gowns. The image might be a small miracle, over in a moment, or else a figment of the imagination caught from the corner of an eye. That we never find out which is typical of a record that does not so much mask its meaning as refuse to settle on a single answer. One caught within a series of dualities, be it between autonomy and inaction, startling beauty and the punishingly mundane, and thus open to a variety of interpretations. Even when, peering into the water later on in the track, Bartels believes she sights the fish again, the result remains ambiguous. Does the small, glinting creature she sees swimming with its family represent the possibility of the things most desired: freedom, connection, agency? Or only reinforce the opposite reality, where such ideals can only exist at a remove from our lives in their own watery, alien world?” [Review]

Lia Kohl – Various Small Whistles and a Song

Dauw

“As the artistically-inclined might deduce from the title, [Lia Kohl‘s Various Small Whistles and a Song] takes inspiration from Ed Ruscha’s Various Small Fires and Milk, a book released in 1964 which featured fifteen photographs of fires and one of a glass of milk, Kohl matching not only the structure of Ruscha’s work (the album offers fifteen whistles and one song) but also its playfulness and deceptive depth. The result is an attempt to convey the subtle textures of life in a way that feels at once incidental and carefully curated, and one that ultimately adds up to something far greater than the sum of its parts. The humble whistle, it turns out, is the ideal medium around which to build such a mission.” [Review]

Lily Seabird – Trash Mountain

Lame-O Records

“This album is dedicated to Trash Mountain,” Lily Seabird describes in her liner notes to the record of the same name. “A real place where I lived while writing and recording this record.” That real place is a house for artists and other creative types built on top of an old landfill site in Burlington, Vermont, somewhere which offered both the reliable constancy of home, especially via the like-minded community where Seabird would return after long stretches on the road, and a place of constant flux. This juxtaposition marks the record, Seabird facing up to the regretful pasts and uncertain futures by embracing change as a perpetual truth, though also coming to realise the anchoring stability that can be found in connection and community. “I don’t have hope for the oppressive systems that abandon us, but I do have hope in people,” Seabird says, a line that sums up the record perfectly. “Sure, the world is really messed up, but that doesn’t mean we can’t make something beautiful out of the garbage.”

Lisa/Liza – Ocean Path

Orindal Records

“’Ocean Path is a look back at the first songs I made in my teens and early twenties, including some of my very first recordings,’ explains Liza Victoria of the latest Lisa/Liza EP. ‘For me, it is a letter from my younger self.’ But more than an exercise in nostalgia, the release becomes a meditation on memory and personal change. The ways in which we shift over time, the ways we stay the same, and how we are constantly settling into who we are. ‘I wanted to be a musician, I wanted to share my inner world with others. And now I see where that lead me and feel gratitude for the path set out before me,’ Victoria continues. “Each song holds time between it, at least a year between each, love and memory, and different worlds of view, threads between them’ […] What results is the sense of witnessing Lisa/Liza form in real time, this early [release] already offering that magic, almost contradictory blend of the past, present and future Victoria has since mastered, able to offer sanctuary from the world without ever sacrificing the hope intrinsic to the act of looking forward.” [Review]

Lisa O’Neill – The Wind Doesn’t Blow This Far Right

Rough Trade Records UK

“Some terrors are born out of nature / Some terrors are born overnight / Some terrors are born out of leaders / With their eye on a different prize.” So sings Lisa O’Neill on the title track of The Wind Doesn’t Blow This Far Right. Consisting of handful of covers, original songs and a James Stephens poem reimagined as song, the release is at once timeless and contemporary. An album which pairs a rendition of ‘The Bleak Midwinter’ with Dylan’s ‘All the Tired Horses’, and places an ode to union organiser and activist Mother Jones near a meditation on the current housing crisis. But it is the title track which stays longest in the memory. A searing indictment of the state of the world and the rapacity from which it was born. “Natural disasters devastate and turn our world upside down,” O’Neill explains, “but it is the man-made greed-motivated unnatural disasters put upon our beautiful planet and it’s people that inspired this song.” Such malevolent forces seem to be gathering at pace across the globe, and music like this has never been so timely.

Little Mazarn – Mustang Island

Dear Life Records

On their third LP, Little Mazarn branch out from their primitive folk roots into something more experimental. The core tenets of their style remain, namely Lindsey Verrill’s distinctive vocals and Jeff Johnston’s singing saw, but now there are drums, synths and what the liner notes describe as “a chorus of orchestral oddities.” It’s a new and fitting entry into the canon of Southern outsider art, joining the work of countless other musicians, artists and writers which, although disparate in style, are united by a shared spirit. The result is something sparse and sombre and sincere, evoking the both the wide-open spaces of the band’s home state and something altogether more intimate. Grief and loss are major themes, and the record functions both as a kind of emergency valve to liberate these big feelings and a reminder to hold on to them. “I built a gate for my grief to go freely,” Verrill sings on ‘The Gate’, in a line that captures the entire album, “I’m not meant to contain wild horses / I see them run and I feel their hot breath, alive. I can’t pen them in and I can’t let them go.”

Living Hour – Internal Drone Infinity

Keeled Scales

“Almost didn’t take a photo / But I’m happy that I did / Cause it melted all around me / When I crossed across the bridge.” So sings Living Hour‘s Samantha Sarty on ‘Things Will Remain’, the closing track of the Winnipeg outfit’s fourth album Internal Drone Infinity. Or rather, so sing Living Hour as a whole, the verse delivered with a communal conviction that underscores its importance to a record all about the small beauty and slow pain that constitutes the passage of time. Internal Drone Infinity is the perfect example of “what the band themselves have coined ‘yearn-core’,” as we wrote in our review, “[combining] slowcore, indie rock and dream pop into something shaded by the gauzy texture of memory,” though it hurdles the saccharine nostalgia which can sometimes haunt such music with a shapeshifting sound that isn’t afraid to push into heaviness or intensity. Because while the project is wistful by its very nature, there’s a harder truth inherent within it too. An awareness of entropy. The immutable fact of change. The knowledge everything we have will break down and fall away. Living Hour are here to preserve what they can while it is still possible, but also do something more. An attempt to evoke this wider cycle in all of its messy reality, and come to find meaning in its perpetual, inevitable turn.

Mal Devisa – Palimpsesa

Topshelf Records

We first wrote about Deja Carr’s Mal Devisa back in 2016 with breakout album Kiid A personal record which “plays like condensed version of life,” we wrote, “reaching high and falling low, crackling and bursting and simmering under the surface, at times exploding in urgent streams of consciousness as if the words and thoughts can no longer be held in […] It’s not jazz or gospel or indie rock. Kiid is everything. Kiid is whatever it wants to be.” We might be almost a decade down the line from that startling debut, but latest album Palimpsesa shows that Mal Devisa has only grown in the interim. Eschewing genre conventions to touch on everything hip-hop, jazz, folk and spoken-word poetry, this is an album which manages to surpass the fizzing energy of its predecessors. Verbose but also rhythmic, experimental but never ostentatious, Palimpsesa plays like creation of an artist at the height of their powers, but then again we thought that nine years ago, only for Carr to prove she could reach higher still.

Michael Beach – Big Black Plume

Goner Records / Poison City Records

“Did the sea come near / When you held the shell to your ear? / Did you hear the sound of the tide / Coming or going? // “Did you smell the scent of the brine / In your blood flowing / Or did you hear / The desperate lonesome wind blowing?” So asks California-born, Melbourne-based songwriter Michael Beach on ‘The Sea’, the opening track of his fifth full-length album Big Black Plume. The lines serve as a fitting introduction to a record grounded within our present moment, a reality in which any experience of wonder or joy we might find within the natural world is shadowed by an ubiquitous sense of mourning, and the true cost of humanity’s avaricious folly is coming to pass. But rather than succumb to despair, Big Black Plume pushes further through this cataclysm and emerges with something startling. “While there is an undeniable darkness [to Beach’s work], it is often sublime in nature, and certainly anything but nihilistic in its intentions,” we wrote of the album earlier in the year. “A fact made clear by new record Big Black Plume, which works with perhaps the only form of optimism left. ‘I was wrestling with the beauty and intensity of the natural world and coming to grips with the human destruction of it,’ as Beach explains. ‘I have an overwhelming sense that humans will come and go, and the world we depend on will outlast us.'” This is the soul of the record. One of both unfathomable loss and determined perseverance, where only a reconnection with nature and all of its systems might allow us to transcend the cursed fate we have carved for ourselves, or at least grant the solace of nature’s sure continuation after we are dead and gone. “There are countless ways for disaster,” as Beach sings in the closing title track. “The dreaming of the natural world will go on.”

Mourning [A] BLKstar – Flowers of the Living

Don Giovanni Records

“Released to coincide with the project’s decade anniversary, Mourning [A] BLKstar‘s Flowers of the Living sees the Cleveland-based Afrofuturist collective draw on every ounce of creativity and expertise gained across the years, resulting in a sound that’s intricately detailed yet confident enough to spread its wings and take its time. ‘Not only does space represent stillness, contentment, and mindfulness, it’s also the fulcrum of collectivism and free expression, and a key tenet of the Black ecstatic lineage,’ as the press release puts it. ‘Space has always been politicized, and to view it from a place of abundance rather than scarcity, even in a conceptual sense, is a rebuke of fascist oppressors and an affirmation of love and self-belief.’ MAB hold this sentiment as a mission statement, the album defiant in every sense, from its refusal to restrict itself to any single genre convention to its unbridled invention and confidence.” [Review]

The Noisy – The Secret Ingredient is Even More Meat

Audio Antihero

“A deluxe edition of the project’s debut album The Secret Ingredient is More Meat, [The Noisy‘s The Secret Ingredient is Even More Meat] casts a wide net for its inspiration, drawing on a whole range of cinematic and literary influences as well as the ideas which underpin and support the drag and queer communities. The result is inherently personal yet larger than any one life, lead Sara Mae Henke evoking the true dimensions of their interior with songs that can be televisually glitzy (‘Twos‘) or as intimate as a home movie (‘Grenadine‘), and moreover songs unafraid to delve into the most individual of subjects in order to locate more universal truths (as with ‘Nightshade‘ and its examination of difficult relationships). The superstitious ‘Ballerino’ and its Suspiria-inspired video by Ewan Hill collect all of these ideas together into under two minutes, celebrating all sides of an identity while working through memories and learning to love the past while focusing on what is to come.” [Review]

Okkung Lee – Just Like Any Other Day (어느날): Background Music For Your Mundane Activities

Shelter Press

“Just Like Any Other Day (어느날): Background Music For Your Mundane Activities by Okkyung Lee sees the South Korea-born, Berlin-based cellist and improviser reject the established tropes and signifiers of experimental music and thus magnify its creative potential. A style which, per the album notes, sits ‘at the juncture of ambient music, minimalism, and the baroque’ but is not beholden to established pattern or language, forcing both artist and audience to reckon with each composition on its own terms and nothing else. And yet, for all these ambitious intentions, the result is not some exercise in avant garde excess, be that ostentation or confrontation, but instead something tactful, modest and intuitive. The sonic equivalent of the title’s ‘any other day’, where apparent ordinariness is revealed to contain the multitudes of memory, longing and latent emotion which comprise each and every spin of the earth.” [Review]

Patrick Shiroishi – Forgetting is Violent

American Dreams

“It is fair to say multi-instrumentalist and composer Patrick Shiroishi is unafraid to broach big themes. Previous releases like Descension, Hidemi and I was too young to hear silence have all in one way or another revolved around the internment of Japanese-Americans, but new full-length Forgetting is Violence takes things even further. [The album] considers, amongst other things, racism in a wider sense. An attempt to wrestle with the phenomenon as both a historical fact and contemporary shame, and furthermore one which confronts the impossibility of living in this world without participating in its ongoing function. Acknowledging that if the desire to eradicate another is something allowed into the world, then no aspect of a culture can be said to exist above or beyond it. A truth more apparent now than ever as genocide is televised in real time.” [Review]

Pickle Darling – Bots

Father/Daughter Records

It might be tempting to view Bots as metamorphosis of the Pickle Darling project. In fact we did just that back in June, describing how New Zealand-based producer and multi-instrumentalist Lukas Mayo decided to channel Robyn, Cher and Ray of Light-era Madonna for single ‘Massive Everything’, dropping some of the playfulness and poetry of previous releases to instead “embrace the exhilaration of being wholly direct.” Subsequent single ‘Human Bean Instruction Manual’ complicated the picture, stretching the definition of direct with a sprawling seven minute slice of fuzz pop. “This new era of Pickle Darling does not jettison the idiosyncratic charm which has won the project so many fans,” as we wrote. “Nor does a commitment to forthright communication elide any sense of ambiguity. Indeed, this is a song all about such ambiguity, and how learning to embrace the doubt inherent within growing up in this strange present.” Spend any time with Bots and you’ll come to see it is less a revolution than the next chapter in a story Pickle Darling has been building from day one. An album willing to embrace contradiction—between old and new ideas, familiarity and foreignness, even the joy and frustration of making art—and in doing so go further than most to evoke the feeling of being alive in 2025.

Ruby Gill – Some Kind of Control

Self-released

“I had been grappling with what it meant to have all and no control over my time and body—all at once,” so explains Ruby Gill of her second album, Some Kind of Control. A record marked by what she describes as “cheekier, looser, gayer and even more raw” style, embodied by ‘Touch Me There’. “[A song] which examines the body in ways both intimate and political, embracing the queer experience both as a means of personal fulfilment and as a wider radical force,” we wrote in our review. “This duality is evoked by the interplay between Gill’s searching delivery and the communal backing chorus which sees the likes of Annie-Rose Maloney, Hannah McKittrick, Angie McMahon, Hannah Cameron, Jess Ellwood and Olivia Hally (of Oh Pep!) all lend their voices. The result is the sense of a call being answered. A single voice echoing back as a community.” [Review]

Sam Moss – Swimming

Self-released

“Stuck in the past / But somehow living / Out of my depth / But somehow swimming.” Four succinct lines from the title track of Sam Moss‘s Swimming capture the album’s essence, as the Virginia-based guitarist and songwriter embraces contradiction in more ways than one to create what might be his strongest release to date. The warm, ostensibly modest arrangements seem to deepen with each listen, not least thanks to the careful additions from a supporting cast of Isa Burke, Jake Xerxes Fussell, Sinclair Palmer, Molly Sarlé and Joe Westerlund. Moss’s lyrics and delivery follow a similar pattern, their gentle fondness belying the intensity beneath the surface. The result is something of a paradox, though one which feels entirely natural. A folk album that is humble in tone yet existential in nature, one drawn with a careful hand that nevertheless reaches for the full spectrum of emotions life inevitably brings. Dip a toe into Swimming and you will feel a pleasant warmth. Submerge yourself within it and something far more urgent will be revealed. “There’s no seasons left that matter / There’s no days, only hours,” as Moss sings on the closer. “And there’s so much to gaze at / In this world.”

SG Goodman – Planting by the Signs

Slough Water Records / Thirty Tigers

SG Goodman‘s Planting By The Signs takes its title and philosophy from the Foxfire books, a series first published in 1972 which aimed to pass on the collected wisdom and history of Appalachian life. The phases of the moon, this volume suggested, have a notable impact on our earthly endeavours, so anyone looking to undertake a task, be it planting a garden, weaning a baby or writing a folk rock album, would do well to align their efforts with the lunar cycle. Goodman’s record, easily one of the strongest released this year, seems to support the utility of this tradition, or at least the wider reconnection to the natural rhythms so often buried within our hectic, fatally human present. Written in a period of great loss, and helping to facilitate a process of reconciliation, Planting By The Signs is a highly personal album about the most universal of themes. Grief, love, God. The suffering of poverty and the dignity of those made to bear it. Not to mention that bond we share with the wider environment, a truth of life whether we like it or not, and the responsibilities of stewardship which result. There’s no small amount loaded into these songs, take the principle image of ‘Snapping Turtle’, where cruelty is met with a fury fit to match that of Christ in the temple, anger which only exists because of the compassion which burns underneath. This aching fondness for all life permeates all the tracks and culminates in the playful, crushing, transcendent closer, ‘Heaven Song’.

Shallowater – God’s Gonna Give You A Million Dollars

Self-released

If ever there was an album built to evoke a specific place, it is Shallowater‘s God’s Gonna Give You A Million Dollars. Following on from their acclaimed debut There Is A Well, the Houston outfit doubled down on their self-described ‘dirtgaze’ aesthetic to capture the sweeping landscape of West Texas. Six tracks of crushing weight and panoramic space where the stillness of distance is shot through with dust storms and squalls of violence. ‘Sadie’ is one of the highlights, a song loaded with images as stark and foreboding as the sound itself, its lights in tornadoes and dust covered angels speaking to the mythos of a record keyed into the sublime, though also offering a surprisingly tender meditation of grief that ties the personal into the elemental heft which surrounds it.

Snocaps – S/T

ANTI-

Way back when, before Katie and Allison Crutchfield won hearts via Waxahatchee and Swearin’ respectively, the Alabama twins played together in the beloved yet short-lived P.S. Eliot. In the wake of personal success, diehard fans have called for a reunion, though the Crutchfields are too wise to believe there’s any chance of going home. Snocaps is the alternative, a project with MJ Lenderman and Brad Cook which sees Katie and Allison reunited without forgetting the history in between, the pair taking turns to pen songs about all the obstacles on the road to the present moment, as well as the convictions which have kept the wheels turning all the same. “Give me shit while you can’t see straight,” goes the final verse of opener ‘Coast’. “I got the pedal on the floor / Or I’m slamming on the breaks / I could never just coast.” A simple reunion might have been the easy route to take, but since when has the easy path been true?

Soup Dreams – Hellbender

Candlepin Records

“Storm flooded the freeway / It thundered almost all day / Crying on the street in my hometown / Trapped in the car, the rain coming down.” This image, taken from a verse in opening track ‘Wonderdog’, captures something essential of Soup Dreams‘s Hellbender, the Philly outfit reaching across indie rock, emo and alt country to create a sound that’s nostalgic, emotive and intimate, yet nevertheless charged with a roiling energy. Comparisons will inevitably be drawn to contemporaries like Waxahatchee and Wednesday, with lead Emma Kazan’s lyrics falling somewhere between the unguarded confessions and sardonic bite of the two, though to reduce Hellbender to its influences is to underestimate what is one of the very best debuts of the year. One of heart, subtle humour and bite which captures the tenderness and desperation of solitude without losing the ever-thundering tumult of the world outside.

talons’ – in retreat

Self-released

“There’s a lot about the Covid era that I can’t get past,” says Mike Tolan (aka talons’) in the liner notes to latest album in retreat. “It changed me and largely not for the better.” The project has always been something of a raw wound, conjuring an air of desperate melancholy devoid of any romance or melodrama, but even so, this record feels different. Recorded live to tape at home with all the imperfections left in, this is a dispatch from a troubled mind during troubling times. Songs marked by the kind of quiet despair which descends at the dead at night, the anxiety of the contemporary moment matched only by the deadening suspicion things are only going to get worse. As Tolan concludes: “Things are not OK. The near future is bleak, but we’ve gotta dig in and grind it out for the kids.”

Tan Cologne – Unknown Beyond

Labrador Records

“The music of Taos, New Mexico duo of Lauren Green and Marissa Macias, otherwise known as Tan Cologne, has long probed at the intersection of the physical and ethereal, a style established on 2020’s Cave Vaults on the Moon in New Mexico. ‘Orbiting around the the titular state, the record excavates the physical and metaphysical layers of the specific location,’ as we wrote of the album in our review, ‘digging through strata both natural and supernatural in attempt to represent New Mexico in all its strange, stark beauty’ […] Tan Cologne’s latest full-length Unknown Beyond represents both a continuation of this style and a broadening of its horizons. Almost literally, in fact, with Green and Macias turning their attention skyward with the same curiosity, openness and longing which has always underpinned their work. Their search is driven by griefs personal, communal and global, the songs written in the wake of bereavement amid a country, indeed a world, on fire in more ways than one.” [Review]

Tobacco City – Horses

Scissor Tail Records

Chris Coleslaw, Lexi Goddard and pals make country music that has one foot in the golden-hued past and another in the painfully real present. This is true both in terms of the Tobacco City sound, which freshens up classic seventies country (think Emmylou and Gram) for the modern ear, and its lyrics, which compound the often confusing, disappointing and bittersweet nature of the present day with a yearning gaze at the past. Horses moves from good-time toe-tapping euphoria to solemn late-night longing, and spans comforting nostalgic familiarity to a manic desire to leave the depressing desolation of small-town existence. This is achieved principally through a focus on small snapshots of bygone days. Seemingly mundane moments where boredom breaks its levee and becomes something of its own rush, where the dissatisfaction of cooped-up small-town living is tempered by time’s unhurried passage. Here, the future is not some dark unstoppable force rushing toward you in a clatter of hoofbeats, but something intangible, indistinct. Something to worry about tomorrow.” [Review]

Tuxis Giant – You Won’t Remember This

Worry Bead Records

“You Won’t Remember This both continues the themes explored across [Tuxis Giant‘s] previous albums and expands their sonic palette. But more than a lesson in testing the borders of a project, the invention and experimentation serves its ultimate intention. That is, to paint a picture of life as it is lived, a full spectrum of moods, the shades shifting day to day. And moreover, something experienced not only as the immediate present but also a constant retrospection, memories appearing, merging and changing as the months pass by, each colouring our outlook at any given moment. The album’s most autobiographical song ‘Heart Surgery’ encapsulates all of this in one track. A retelling of the day lead [Matt] O’Connor’s mother underwent the titular operation, complete with stark emotion, naked concern and the small funny details which pop up no matter how serious the occasion. But it is also a meditation on memory. The things we remember, the things we do not, and how both of these might haunt or protect us as we grow and heal.” [Review]

Weakened Friends – Feels Like Hell

Don Giovanni Records

“Back in August we introduced Feels Like Hell, the new album from Weakened Friends [on] Don Giovanni Records, with single ‘NPC‘. What we called ‘a decidedly existential track featuring guitarist Buckethead inspired by the reality-bending simulation theory,’ though one rooted in a very real, contemporary struggle. ‘Far from some exercise in idle sci-fi daydreaming, the song is urgent, defiant and cathartic,’ we described. ‘Fatalistic, but delivered with the kind of full-throated passion that can only exist in those still with the spirit to fight.’ This attitude is the cornerstone to Feels Like Hell, the record representing a rejection not only of the myriads of forces which make our current culture so bleak and painful, but the all-too-common apathy with which so many react to such conditions. A collection of spiky, confrontational and cathartic songs, notably different from the tone of the Portland, Maine outfit’s previous LP Quitter. ‘Every soul-destroying facet of our present moment is used as fuel on the fire,’ as we continued in our preview. ‘The hegemony of global capitalism, complete with its mass surveillance, environmental destruction and rampant inequality, is enough to drive anyone to despair, but Weakened Friends are determined to deny it that one last victory. Better to scream, yell, bring the whole thing crumbling down with us.’” [Review]

Weirs – Diamond Grove

Dear Life Records

“[Diamond Grove by Weirs is] a repertoire of classic songs so indebted to the particular conditions of the moment that they have never sounded quite the same before, and likely never will again. ‘We wanted Diamond Grove to be a record in the truest sense,’ as [lead Oliver] Child-Lannin describes in the liner notes. ‘A living document of a specific time, place, and gathering of friends. Recorded in farmhouses, fields, and an abandoned silo, it channels the spirit of traditional music as a shared practice, alive with the sounds of its surroundings.’ The result owes more to musique concrète than the crisp, professional recordings of the folk revival. It is up for debate whether this represents a stylistic leap for the genre or a circle back towards an even older tradition, music delivered and enjoyed in situ. But to ponder whether Weirs exist in defiance or deference of their forebears is to miss the point completely. This is not an attempt to raze conventions, nor reproduce them. But rather imagine how folk could and should sound today. If the entirety of traditional music could be viewed as a series of specific moments threaded into a timeless whole, then with Diamond Grove, Weirs offer their own bead to add to the chain.” [Review]

Wilder Maker – The Streets Like Beds Still Warm

Western Vinyl

“Wilder Maker’s The Streets Like Beds Still Warm is a very different record to 2022’s Male Models. One even more ambitious in scope (it’s the first of a planned triptych to be released across the next eighteen months) and unique in its creation which nevertheless seems driven by the spirit of its predecessor […] Birnbaum has called The Streets… ‘the inverse of the typical songwriter record,’ the music recorded during open-ended sessions where core band members Adam Brisbin, Nick Jost, Sean Mullins improvised and swapped instruments at will, and guests including Katie Von Schleicher, Joseph Shabason, Macie Stewart, Chuck Johnson, Will Shore, Rebecca el-Saleh (Kitba) and Cole Kamen-Green added their own touches too, before Birnbaum took the result home and slowly whittled it into the form it takes today. The result, made possible by both a band now experienced in working together and a label in Western Vinyl willing to trust them, swaps the sleek psych and goodtime rock sensibilities of its predecessor for something altogether more stark and lonely, less a house party than a late-night wander through unfamiliar streets. Which is not to suggest minimalism, the sound owing much to experimental and alt-jazz forebears, but rather the presiding mood. One indebted to the shadow and subtle desperation of noir cinema, the perfect soundtrack as Birnbaum’s world-weary narrator flits between bars and hospital rooms while nursing concerns both trivial and existential.” [Review]

Will Johnson – Diamond City

Keeled Scales

Diamond City is Will Johnson’s tenth solo album and one that finds the legendary Texas songwriter’s style stripped back to the bare bones. Created at home in his Hays County farmhouse “in one room alone with his thoughts,” the record is inspired by the landscapes of both Johnson’s childhood in southern Missouri and the Texan Hills outside his window, painting a picture of the USA’s vast interior using initially just guitar, drum machine and an old Tascam 424. Once completed in this pure form, Johnson sent the songs to longtime collaborator Britton Beisenherz, who fleshed things out just enough, blowing on the embers of Johnson’s demos without smothering them in needless polish and ornamentation. The result is a new entry in the long and storied list of masterpieces created many miles from a professional studio, squirreled away in some corner with a tape recorder and something to say. Lyrically the album is poetic, fragmentary, even opaque, but viscerally emotive too, indebted to the pantheon of Southern writers from Faulker on down. Put simply, Diamond City is a reminder in the raw power of austere simplicity, that sometimes things are better without all their creases ironed out.

Will Stratton – Points of Origin

Bella Union

Set across the full breadth of California over a timespan of ten thousand years, you’d be hard pressed to find a more expansive record than Will Stratton‘s Points of Origin. The ambitious album is as detailed and crowded as an entire book of Where’s Wally? illustrations. Its cast of characters a Pynchonian smorgasbord of artists, con men, criminals, deadbeats and truck drivers, government men, snitches and counter-culturists, all inhabiting a world irrevocably altered by the presence of man. A picture of America before, during and after the imperialist project which has come to shape it, where fires and floods haunt the land as though in divine retribution, and a myriad of tiny struggles add up to the longest of wars. And, for the wild scope of Points of Origin, it is these tiny struggles which mark its true spirit. Each song intimate and detailed, a square inch of a picture too large to display, yet so richly imagined that they are able to evoke the full frame. Be it through the image of ancient hunters on snow-topped peaks or Vietnam attack choppers repurposed to drop flame retardant on home soil instead of napalm aboard, Stratton works with a hand careful, tender, heartbroken and seething, empathetic to the plight of his individual characters while damning the sum of their endeavours.

Wine Country – Hard Times

Self-released

“The liner notes for the debut Wine Country record, Hard Times, put the terms “written” and “composed” in inverted commas, a small gesture which speaks volumes. Because these are not songs finely wrought or painstakingly crafted brick by brick. Rather they just arrived, epiphany-like, [lead Matt] Kivel a willing lightning rod struck by a bolt of pure inspiration […] In the past he has drawn on cinema and literature, folk music and ambient music and experimental jazz. But here, in keeping with the overall vibe, things just flow where they want. Long, meandering pieces of psych-tinged art rock, improvisational lyrics that nonetheless feel charged with poetry and meaning. A testament to the value of committing to something without inhibition, and allowing the result to speak on its own terms rather than being edited and overworked beyond its proper shape. Hard Times is inspiration uncut. Not so much an attempt to communicate something otherwise incomprehensible as an embrace of the incomprehensible itself.” [Review]

Wombo – Danger in Fives

Fire Talk

“Feeling every inch the product of a band nearing ten years together, Danger in Fives finds the Wombo sound realised in its purest form, combining the experimentation and risk-taking which marked their earlier releases with the growing confidence so evident on Fairy Rust. That is, the sound of project which has come to understand its spirit and ambitions and is now committing to them with total conviction. ‘Danger in Fives isn’t a reintroduction’, as the press release states. ‘It’s a reminder’.” [Review]

The post Year in Review: 2025 appeared first on Various Small Flames.

I Saw the Egg, the first full-length album by Battle Ave in almost a decade, is inching ever closer. As we described in a preview of lead singles ‘Maya’ and ‘Leo’, the album promises to be a continuation of the signature Battle Ave unpredictability, displaying we we described as “openness to contradiction that allows vastness to sit alongside intimacy, ominousness next to sincerity, and ultimately embraces the beauty and truth of ambiguity.” This week, the band have released the record’s third single, ‘Core’, a big hulking thing that plays like slo-mo shoegaze, lead Jesse Doherty’s comparatively reticent vocals dealing in lines as sparse and opaque as the stories of Diane Williams or Lydia Davis.

I Saw the Egg releases on 1st April on Friends Club Records and Totally Real Records and you can pre-order now from the Battle Ave Bandcamp page.

Deau Eyes – Moscow in the Spring

Taken from Deau Eyes upcoming sophomore record, Legacies, ‘Moscow in the Spring’ gives an insight into the cinematic vision and emotional maturity of Richmond artist Ali Thibodeau. With its speckled synths and sleigh bells, the song conjures an intangible quality, a shimmering sound ghosting around what could otherwise be a classic country tale of longing and regret. Marked by both the dawning excitement of some new frontier, and deepening appreciation of what has been built in the present.

‘Moscow in the Spring‘ is out now and available from Bandcamp. Legacies is out on the 10th June via Subflora.

los nerds- s/t

Super lo-fi but super infectious punk rock from Hermosillo, Mexico. Clocking in at just over seven minutes, los nerds don’t mess around. If you like your catchy melodies buried in fuzz and crackle and general chaos, this is the tape for you. Yelped vocals bounce around with hyperactive intensity, singing about everything from playing Tetris all day to making nuclear bombs in lab class, and even a pretty impressive impression of a car going through the gears on the informatively titled ‘bip bip (“beep beep”).

Jackie West – Amelia

Raised by a musical family in Boston, Jackie West’s musical journey leads from Martha’s Vineyard to Brooklyn and eventually to Paris to record with Lewis Lazar (Oracle Sisters). She returned to New York with a newfound sense of purpose and got to writing the songs that would come to form a self-titled EP on Westernesse. Single ‘Amelia’ is the perfect introduction, a song “about a dear friend who also represents the ‘agape’ love state after you’ve come and gone from each other’s lives many times,” as West puts it. One as rich and heartfelt as that sounds.

Jackie West will be released on Westernesse later this year.

Jana Horn – Jordan

Released last month on No Quarter Records, Optimism by Austin-based songwriter Jana Horn is a lesson in tightly woven and lyrical folk music. Despite the relative minimalism of the arrangements, each track represents its own palm-sized world, none more than the starkly cryptic ‘Jordan’ with its soft-spoken delivery and tacit weight. Check out the animated video by Jaime Zuverza below:

Optimism is out now via No Quarter Records and you can get it from the Jana Horn Bandcamp page.

King of Nowhere – Souls

January saw the return of New York trio King of Nowhere with their self-titled fourth album. Centring on themes of nostalgia and shifting identity, the record is at once vulnerable and empowered, charting the peaks and troughs of coming to terms with yourself in the most honest manner possible. Take the slow, mournful single ‘Souls’ and the way it which it rises out of its downbeat beginnings to realise an affirming climax, complete with vocals from Tetchy‘s Maggie Denning.

Last Quokka – Cue

Carving out a space within Australia‘s rich scene, Whadjuk/Perth punks Last Quokka combine irreverent fun with a fierce antifascist agenda, be it through danceable threats to Nazi scum (“Now it’s time, we’ll tear you down”) or wistful odes to Geoff Gallop (“Yeah look we’re not saying he’s such a great guy / But compared to these other pricks he’s alright”). Ahead of their fifth album on Stock Records and with new members in tow, ‘Cue’ introduces a newly fortified Last Quokka ready for a fresh assault. Slightly more polished perhaps, but certainly no less frenetic, the song dives headfirst into the outback and drags the listener along for the ride.

Mal Devisa – kiid

Having recently signed with Topshelf Records to make her full catalogue available across all streaming services, there’s never been a better time to get familiar with the endlessly inventive work of Mal Devisa. From spoken word poetry through hip hop, pop, folk and jazz, Devisa refuses to settle in any one genre, utilising every tool available to communicate what needs to be heard. 2019’s kiid is a great place to start, a record we previously described as “a personal record [that] plays like condensed version of life, reaching high and falling low, crackling and bursting and simmering under the surface, at times exploding in urgent streams of consciousness as if the words and thoughts can no longer be held in.”

Many Voices Speak – Seat For Sadness

Many Voices Speak returns this spring with Gestures, a brand new record on Strangers Candy. The moniker of Stockholm‘s Matilda Mård, the project has made its name with its luscious dream pop soundscapes, and latest single ‘Seat For Sadness’ shows the new album is no exception. Though within the continued style sits a story of change and transformation, however subtle and modest. “What unites the songs is a need for inner change,” Mård explains, “to handle the things in life that can’t be changed. I’m creating strategies for myself – new ways of thinking, so I can live with certain things.”

No Frills – Copy Cat

In lieu of recording with a full band during a period of lockdown, Daniel Busheikin of Toronto‘s No Frills started their new album Downward Dog in the garage-turned-studio of The Wooden Sky’s Gavin Gardiner, with band members dropping by individually to record their various contributions. Such a process must’ve required a sizeable sense of humour, and lead single ‘Copy Cat’ shows the sardonic blend of pessimism and playfulness that’s a feature of the record. The cartoon video is pretty wild too.

Downward Dog is out on the 1st April and you can pre-order it from the No Frills Bandcamp page.

Ruby Landen – Front Teeth

Writing of Ruby Landen‘s Martyr, well last year, we described how the Brooklyn-based songwriter utilised a classic folk sound to evoke “a kind of duality, between specificity and diffuseness, the wide world and Landen herself.” Back with new single ‘Front Teeth’ via Ruination Record Co., Landen continues this style, the tender acoustic guitar capturing the nostalgic tone of the lyrics, though within the wistful sound lies both cutting commentary and playful humour.

Ryan Dugre – For Clement

Another Ruination record, Look See is a new EP by New York-based multi-instrumentalist Ryan Dugre. Following the ethereal richness of 2021’s Three Rivers, the new release hones Dugre’s sound down to a solo tenor guitar. What results is a streamlined, unadorned exploration of a single instrument, and a lesson in the old adage of less being more. Nowhere is this better highlighted than on the poignant opening track ‘For Clement’, which seems to live far beyond its sub-two-minute runtime.

Saapato – Singing House I & II

Writing about Saapato‘s Bird Sanctuary EP back in 2021, we described how Philadelphia‘s Brendan Principato explores “textural soundscape creation and sound bath performance” to weave songs rooted in his surroundings. Be that composing tracks in the backseat of his car at a New Jersey bird sanctuary, or, as with his new release Singing House I & II, pursuing the full sonic potential of his childhood home. Singing House is a petri dish of improvised ambient performance, field recordings, and loops layered or deconstructed and sent whirring through amplifiers into the air, Principato explains:

From the air they go into an oven, or an attic, or straight into a carpet. A microphone may sit two stories above the origin of the sound, it may sit outside the house, it may sit inside my own mouth as a walk through a hallway. A piano in the garage might be piped through a megaphone inside the refrigerator. A speaker may blast drones from inside a plastic bag submerged in a bathtub. Singing House is without formula.

supernowhere – Basement Window

As if the elastic and endlessly inventive compositions of supernowhere’s 2021 record Gestalt weren’t enough, the trio return this spring with a brand new record on Topshelf Records. Originating from ideas that didn’t make the previous album, the band gave the tracks that extra bit of attention only to see them blossom into Skinless Takes A Flight. For the uninitiated, single ‘Basement Window’ invites the listener into the idiosyncratic and escalating soundscape.

The post Weekly Listening: Feb 2022 #1 appeared first on Various Small Flames.

We decided to expand things slightly this year, giving ourselves a chance to write a little something about the albums we wanted to cover but never got the opportunity. Albums which meant something to us at various points through 2021. The list was still incomplete, of course, and we were left with a big list of great songs from great records we didn’t get a chance to mention.

So here are some songs we really enjoyed in 2021. We hope you enjoy them too.

Arooj Aftab – Mohabbat

A take on a piece by Hafeez Hoshiarpuri, Aftab’s multilayered masterpiece is suffused with the patience, sadness and meditative inner wandering of Sufi devotional poetry.

Anjimile – Stranger

As fragile as sandstone, tougher than rock, ‘Stranger’ packages a nuanced assessment of identity as a folk pop hit of which Sufjan would be proud.

Bea Troxel – Getting Where

An empowered anthem for the introverted, slowly circling towards a more truthful self.

Ben Seretan – Cicada Waves 1

Measured and patient piano embedded within an organic field recording, ‘Cicada Waves 1’ plays like a slow day passing in all its quiet details, all its hidden weight.

The Bird Calls – Ritual Crash

With satellites falling from the sky and the burning underworld breaking the surface, ‘Ritual Crash’ presented the most tender, intimate end of the world you were likely to hear in the year of our Lord 2021.

Bria – Buffalo Ballet

Travel to Abilene, TX with this take on John Cale’s “European version of the Old West,” from an EP of covers that both subverts and celebrates country music.

BRNDA – Perfect World

Stable job, accolades, friendly dogs and affirmation. “You’re in the perfect world and doing ok,” sings Leah Gage, voice flat and sardonic as the track eventually tips sideways and falls into an unhinged sax outro.

Canary Room – Lake Effect

Bittersweet folk captured in its best setting, supported by warm lo-fi textures and an ambient embrace of birdsong.

Carson McHone – Hawks Don’t Share

The lid peeled off artistic collaboration, showing the tug of war tension underneath, as well as the lingering regret that results.

Daniel Davies – Spies

On streets as dark and foreboding as this, the question isn’t whether you are paranoid, but whether you are paranoid enough.

Doran – Old Moon

A new song cut from ancient cloth, like a small scrap torn from the drape of the heavens and earth and old moon itself.

Dusted – Not Offering

“I have given up. I’ve given enough,” Brian Borcherdt sings on this tender lesson in regret and letting go. “I was so sure. So it goes, I am not anymore.”

Etran de L’Aïr – Toubouk Ine Chihoussay

A suitably joyous number from Agadez’s premier wedding band, drawing you into its infectious momentum.

Fog Lake – jitterbug

A typically aching and overcast pop song from the master of them.

Frances Chang – eros the love creator dividing chaos

Cosmic spoken word which finds universes within interiors, a daydream transportation away from these sorry lands.

Fust – The Last Days

A song for hard times made warm by the fundamental fondness gained only through shared suffering.

JOHN – A Military Alphabet (five eyes all blind) / Job’s Lament / First of the Last Glaciers / where we break how we shine (ROCKETS FOR MARY)

Some latent thing awoken by our way of living, rising in the name of revenge.

Heka – (a) wall

Anger simmered down to a velvety caramel, coating the tongue on a slow walk through nocturnal alleys.

Hilary Woods – I

One of Hilary Wood’s wordless hymns, to be sung in dark chapels deep underground.

illuminati hotties – Pool Hopping

Working on the logic that slowing down might equal admitting truths or figuring things out, ‘Pool Hopping’ grabs you by the hand and runs.

Indigo De Souza – Pretty Pictures

“I’m always trying to embody a balance between the existential weight and the overflowing sense of love I feel in the world,” Indigo De Souza explains, capturing the bummed-out brightness better than we ever could.

Johanna Samuels – Sonny

With its long shadows and golden light, it’s not clear whether the sun is dawning or setting on ‘Sonny’, but it heralds a new day nonetheless.

JOHN (TIMESTWO) – Return to Capital / Šibensko Powerhouse

The reek of ozone as thunderheads slowly gather / The unleashing of the storm. “I see an opening in the sky, high, wide.”

Keith Secola – Intaglio

Just one of the portals on Keith Secola’s latest record. Looking to the heavens, rooted to the ground, tied to everything in between.

Lael Neale – Blue Vein

“Guardian angel / Gather my losses / Keep them all safe / ‘Til I come to my cross”

Le Ren – Dyan

As warm as a mother’s hand, with all the clarity of an empty room.

Lewsberg – The Corner

Perfectly minimal, just guitar, percussion, and incense-scented violin. All backed up by monologue-like vocals that ring with pure patience.

Loretta’s Museum – The Rodney Ave Garage Sale

Instrumental folk and the ambient sounds of a garage sale combine to evoke one of those perfect glittery springtime days when the sky is blue and the leaves are green and the sun isn’t yet too hot to bear.

Lucie, Too – スーパームーン Super moon

A slice of big, radio-ready indie pop from a Japanese duo that seem destined to blow up.

Mal Devisa – Deja playing guitar

With slow guitar and lilting rhythm, a track which isolates the tenderness and patience within loneliness, yearning for connection with plainspoken charm

Marie/Lepanto – Gramps and Grandma

Justin Peter Kinkel-Schuster on reliably emotive form with the picture of familial love and heartbreak, and Jason Isbell shows up to shred some guitar for good measure.

Maxine Funke – Quiet Shore

A quiet meditation on the mundane aspects of a traumatic moment (a tea tray, a snatched umbrella, a slammed door) that illustrates the potency of memory and how a whisper is often louder than a shout.

Merpire – Heavy Feeling

Has an anxiety attack ever felt so cathartic?

Midwife – God is a Cop

“Am I heartless, or am I soft?” The pressing question at the heart of a track suspended between earnest confession and violent conflagration.

Myriam Gendron – Poor Girl Blues

Gendron combines a traditional Québecois folk song with an old blues one to distil their shared meaning, a lament for the lost, lonely and displaced.

Ovlov – Baby Shea

A 97 second eulogy to Brooklyn’s Shea Stadium played at breakneck pace.

Quivers – Gutters of Love

Ageless Aussie pop that’s a little bit 80s, a little bit 2010s, and a whole lot of joyous reassurance that heartbreak passes and things will be just fine.

Reiko and Tori Kudo – The Deep Valley of Shadow

A soft soliloquy on isolation grows quietly unsettling as warped strings whisper at the edges like anxious thoughts.

Sand Duney – Shadow Outside

Ramshackle country-tinged psych pop built on layered backing tracks thats equal parts meditative and energetic.

Space Mountain – Night Sky

A slacker jam.

Spread Joy – Kanst Du

Just one no wave pop nugget from a record that’s full of them, like pulling a weird sweet and sour German candy from a bag of pick ‘n mix.

Talons’ – Vampire

Talons’ tackle the experience of living through the pandemic in typically raw fashion, centring on an anxiety dream of being maskless in ALDI “between the meat, the fake meat and the gluten-free.”

Tiny Deserts – Wild Mt. Thyme

This beautifully unfussy and intimate take on an old Scots/Irish folk song captures that uniquely summertime feeling where the slow sunny evenings feel at once sorrowful and jubilant.

Trace Mountains – Eyes on the Road

The sound of a late-night self-reckoning while flying down the highway

TV Priest – Lifesize

A slurred and snarling assault on the patriarchal “strongmen” of politics and culture.

Typhoon – We’re In It

A band known for orchestral maximalism hone things to a razor edge in this emotional gut-punch on isolation, drifting friendship and, ultimately, persisting.

Valley Palace – Patch

Sky-blue guitar pop washed in hazy nostalgia that will have you dreaming of summer.

Weakened Friends – Quitter

A very nineties marriage of confession and catharsis, confronting fears over life’s direction by attaching heart to sleeve and blazing on ahead.

World Record Winner – Pockets of Nature

An honest-to-goodness ode to the joy of rooting around in the dirt and leaf litter away from worries and cares.

Wormy – Hungry Ghost (feat. Samia)

A whirlwind tour through the banal and heartbreaking details of life, gathering enough momentum to convince yourself everything might just be alright.

Yellow Ostrich – Timothy

“What’s a man? I’m just as soft as I can be” sings Alex Schaaf on this rumination on connection and the fallacies of masculinity.

If you enjoyed anything on this list, you may also be interested in our list of albums we missed in 2021. And of course, there were lots of amazing songs that we did write about in the last year, so have a look back through our Reviews and Previews sections to find more.

The post Songs We Missed in 2021 appeared first on Various Small Flames.

Now, aside from certain misgivings pertaining to the diversity and focus of such events, there’s also a long and likely important discussion as to what degree protest alone can change (see Micah White’s case in The Guardian, citing the relative failure of Occupy). However, there is little doubt that activism is as or more important than it’s been for years. The tricky part will be maintaining this level of enthusiasm and commitment to equality beyond single marches or petitions. As White writes at the end of his piece: “The Women’s March on Washington has a role to play in this unfolding drama, but only if we cultivate a few moments of detachment from the thoughtless excitement to truly take time to consider this question: what happens on the day after the women march?”

The answer, I think, should be a doubling down on listening to women, non-binary folks and people of colour. Like, truly listening. Allowing them not only a voice but also the respect/power/position that will enable such a voice to enact social and political change. This can and should start at the smallest levels, equating to nothing more than a commitment to seeking out non-male/white opinions and voices and considering them with equal weight. Look for female journalists and authors and thinkers, PoC musicians and artists and film-makers. Heck, even just read The Le Sigh and Swell Tone and The Grey Estates, anything to shift your perspective away from the dominant voices. Do this until your bookshelf and record collection and Twitter feed look a little different, and the worldview that’s being beamed to you will look a little different too.

We’re under no illusion that our blog posts and mixtapes will solve anything, or that we’re preaching to the converted in this cool little echo chamber. So consider this as us shutting up for a few minutes, both to give space to voices that need it and a reminder that we’re standing by, on your side. You’ve lit the match, it’s time the void went flash. Never think that what you are doing is too small, and never assume that you are doing enough.

Tracklisting:

1. Jenny Hval – Untamed Region
2. Oh Rose – Running
3. Camp Cope – Jet Fuel Can’t Melt Steel Beams
4. The Breeders – Hag
5. Screaming Females – Mothership
6. BB Cream – Heroine
7. Shannen Moser – A Funeral, A Friend, My Sanity
8. Tanukichan – Enough
9. Noname – Reality Check
10. Patti Smith – Kimberly
11. Sammus – Perfect, Dark
12. Vagabon – Fear & Force
13. Diet Cig – Tummy Ache
14. Jay Som – The Bus Song
15. Haybaby – Her
16. Betty Becky – Telegraph Ave
17. Suburban Lawns – Janitor
18. Heavens to Betsy – Nothing Can Stop Me
19. Tacocat – Dana Katherine Scully
20. Colour Me Wednesday – Two Fifty For You Girls
21. Allison Crutchfield – Dean’s Song
22. Cherry Glazerr – Nuclear Bomb
23. Mal Devisa – Dominatrix
24. Nicole Dollanganger – American Tradition
25. Angel Olsen – Sister

P.S. This seems a good time to remind you that Nancy Kells of Spartan Jet-Plex recently put out Friends For Equality, a compilation in support of the Southern Poverty Law Center, ACLU and Planned Parenthood. In addition, she has arranged a benefit show in Richmond, VA in support of Forward Together and Sister Song (full details here).

There have also been similarly great releases like Wren & Shark and Friends, Don’t Stop Now (featuring covers by the likes of Lisa Prank and Augusta Koch of Cayetana) and Our First 100 Days. Oh, and some specially written songs by Hip Hatchet and Adeem the Artist.

Photo by Benjamin Lovell

The post Lit a Match, the Void Went Flash: A Playlist for Moving Forward appeared first on Various Small Flames.

And the usual disclaimer applies, there were too many great tunes to include them all, so treat this more as a selection rather than a comprehensive round-up of the year. Enjoy.

Leanne Betasamosake Simpson – Constellation

“You’re used to quiet words
and so am I
so I’ll just whisper“

Tiny Ruins – Dream Wave

“always a dream wave drawing you off track
dream wave, a coast calls you back“

Magana – Get it Right

“You were red but my gold turned you green
So you stood there lying through your teeth“

deer scout – holy ghost

“I could find a new kind of devotion
I could know you by another name“

Hovvdy – Meg

“Speak because i know you feel a certain way
but ill pass it along anyway“

Bedbug – Leaving Town, Moving to a National Park <3

“I’m too young for that anyways
everyone’s just tryna skip town these days“

Soccer Mommy – Skinned Knees

“i left
burning streets in tennessee
for a north east feel“

Mitski – Your Best American Girl

“Your mother wouldn’t approve of how my mother raised me
But I do, I finally do“

LVL UP – Hidden Driver

“God is peeking
softly speaking
fucking everything
until I slowly do see“

Lisa Prank – Starting Again

“You say you’re not still drinking
you just started again
I swear I don’t still miss you
I just started again“

Dicktations – Dicktations Forever

“It’s hard to say when I first figured out something was wrong“

Joyride! – Running on Empty

“Young and running on empty
you said that you thought I looked pretty with my makeup on
so I went home and I took it off“

Sioux Falls (now Stranger Ranger) – Dom

“Spending too much time on the internet
are you ok? you don’t seem very into it“

Camp Cope – Jet Fuel Can’t Melt Steel Beams

“It’s the trophy wives raising trophy wives raising children on TV
Scared of people like you and me
Just don’t ask questions you’ll sleep peacefully
We will not go out in silence and we will not go quietly“

Fake Boyfriend – BUMTOWN

“Why do I cling to the threads that mean the least?“

Outer Spaces – I Saw You

“I saw you, a shedding snake“

American Enthusiasm – Holy Wow

“Make a note of all the words I cough out on my death bed“

The Hotelier – Soft Animal

“Fawn, doe, light snow
Spots on brown of white 
make me believe that there’s a God sometimes“

Beach Slang – Future Mixtape for the Art Kids

“We’re not lost, we are dying in style
We’re not fucked, we are fucking alive“

CHUCK – Death

“You hold on to whatever kin
that keeps on breathin’ in
that keeps you from driftin’
like paper in the wind“

You Won’t – Ya Ya Ya

“So your daddy was a poltergeist
sent your little sister screaming down the hallway
well I don’t know about the afterlife,
but I can help you to forget about the old days“

Mountain Almanac – Kids Playing Outside

“Saturday morning, cartoon time, let’s go“

Basement Revolver – Johnny

“Please just stay away from Johnny
cos I love him understand“

Boy Scouts – Did You See My Cry

“walking walmart shopping center
i’d never been better
on my own two feet
i guess“

Free Cake For Every Creature – First Summer in a City

“i’ll be singing when i’m 90
climb a tree to see
what tastes to smokey sweet
first summer in a city“

Haley Heynderickx – First I’m Sorry

“Mother knows I drown in my lies
Father knows I learned my lesson the second time.
Ask me where I’ll go I’ll say do not know
No, I do not know“

ARMS – Missing

“I don’t want to force your hand
but wishes disguised as plans will never do
Like the king of deathbed regrets
and the queen of last requests could ever choose“

Naps – Bad Vibrations

“Can’t stand up to the world’s expectations
I’m living on a bad bad vibration“

The Washboard Abs – Day Draws Nearer

“Your backyard
you talked to God
about the heartbreak you forgot“

Trace Mountains – Forgiveness

“old dirt you thrown underneath the stair
is right there
right where you said i’d tremble and stare
at the vast unforgiving spirit lurking there
but it takes time, to realise forgiveness“

Nassau – Desert Blues

“I took a marker and wrote your number on the bathroom stall
That’s just my way of reaching out cos I’m too proud to call“

Adeline Hotel – Near You

“Sleep better tonight
In the heat of red moon light
Whatever we are, whatever we’ll be
I used to live near you, you used to love near me“

Simon Balto – Foothills

“I’ve never been a faithful man
I’ve always been too proud to pray
But won’t you come out to the foothills
And hold me together for one more day“

Cloud Cult – No Hell

“There’s no use in running unless you run like heck
The best things we’ve learned we learned from the wreck
Jesus coming back as a woman this time
Handing out hugs in the clinic line
Someone tell the devil we don’t need no hell
We’re all pretty good at beating up ourselves“

Slingshot Dakota – Break

“And in the end there’s two of us
it was always two of us“

Good Good Blood – No Sadness/Furrowed Brow

“We’ll have no sadness/furrowed brow
There is no shame in dying now
I said from my death bed“

Ben Seretan – Bowl of Plums

“My friends call me when they’re feeling low
We talk quietly for hours and walk the room
Flowers growing in a coffee can
Our lives are wonderful and sad sometimes“

Chris Bathgate – Big Ghost

“I got a Big Ghost
of static in my throat
from coming up too short“

Wintersleep – Metropolis

“The man that you are, the man you were, the man you left
Turn into stars, flowing in through the wilderness“

Mothers – Lockjaw

“I don’t want your kind words
I want your ghost inside a thimble“

Car Seat Headrest – Drunk Driver / Killer Whales

“You build yourself up against others’ feelings
And it left you feeling empty as a car coasting downhill
I have become such a negative person
It was all just an act
It was all so easily stripped away“

Space Mountain – Never Lonely

“Met a friend today
And im feeling okay
She’s in my head
I’m never lonely“

Hallelujah the Hills – What Do the People Want?

“What do the people want?
The people don’t know what they want“

Mount Moriah – Calvander

“Carry on and on and on on
With your cosmic reach
Newport river whispered fate
Spells cast with every crashing wave
Neon lines and a new name“

Frederick Squire – Bike Thief

“The lights are on
And we are sinking way down in our chairs
We don’t say much of anything
Even though there’s still a lot to say“

Kevin Morby – We’ve Been Here Before

“Running my mouth off at the storm
Yelling, “man, what the hell did you do that for?“

Sam Moss – Vertebrae

“Did you watch my vertebrae
Slendering out
Or did you watch your own?
Stretching skin over the bone
I’ve grown
Learning to be proud“

Arlo Aldo – House & Home

“O’er the mountains out past the trees
where the grasslands, meet the sky
you’ll find me singin’ my songs
with my lover in my mind“

Will Johnson – Nervousness Fangs

“Jesus what a mess
what they’re all selling
and what’s being sold“

Jeremy Squires – After All

“There’s an old painting of Jesus on a wall
and a tapestry that hangs by a cross
that weighs heavy on my shoulders now and then
I get caught up with why the things we love ain’t never last“

The Dead Tongues – Stained Glass Eyes

“Fifth wind brought a howl got me in a storm
I saw a lighthouse spinning at the edge of the world
like looking through a window to the day
I was born“

Kyle Morton – Automatic

“It’s my head, it’s my head
breaking itself to make a thought but instead
Just some pornographic images to stave off my death
It’s all automatic“

Keaton Henson – Alright

“Obviously
My wounds are open to see
But don’t take them seriously
I’ll be fine“

Talons’ – Work Stories

“Is this what the end of the world looks like?
Or is this just life?“

Jordan O’Jordan – A Lonely Road

“There are truths we may or may never know friend
and that is the point“

Mal Devisa – Sea of Limbs

“Honey-lover
keeper of the bees
Soft-spoken
seldom-seen“

Young Jesus – Hinges

“I’m pretty sure I’m a kind of collection of things
scattered throughout the backyard
under the moon
pulling weirdo slow dance moves
maybe always losing it a little
i am ashamed to believe in myself!“

Lung Cycles – For a While

“I feel like sharing
so I’ll press record
and I’ll tell you that I had a vision“

Sister Grotto – UNCANNY

“When we go, we go alone“

John K. Samson – Virtute At Rest

“You should know I am with you, know I forgive you
Know I am proud of the steps that you’ve made
Know it will never be easy or simple
Know I will dig in my claws when you stray“

If you missed it, you can see the list of our favourite albums of 2016 here, and stay tuned for our collection of the best name-your-price releases on Bandcamp next week.

The post Wake the Deaf’s Favourite Songs of 2016 appeared first on Various Small Flames.

Hallelujah The Hills – A Band is Something to Figure Out
(REVIEW | INTERVIEW)

“This is an album built from symbolism (one of the tags on Bandcamp is ‘hieroglyphics’, to give you an idea) but, like all the best mysteries, a sense of significance floats to the top, independent of any hidden code. Hallelujah the Hills reconstruct the human experience through sheer enthusiasm, using their joyous hooks and choruses as earnest expressions of emotion rather than ironic juxtapositions.  Walsh and Co. aren’t sitting us down to share a smirk and a wink, or to reel off some abstract philosophical theories, but rather taking us by the hand and running through their strange world, leaving it up to us to catch something meaningful in the breathless blur. And what a world this is, one which has been evolving since their first album, an ecosystem based on a strange molecule – twin strands of confusion and intuition tightly bound and swirled into a double helix – the DNA of Hallelujah the Hills.”

Camp Cope – S/T
(REVIEW)

“For those of us that want to hope that maybe everything doesn’t have to be shit forever, there’s an atmosphere of dissent that seeps into every line. Not in that horrible on-the-nose Billy Bragg/Frank Turner way, but more subtle, funny and heartbreaking, with throwaway lines that leave you a bit off-balanced. I think that’s what I like most about Camp Cope – the constant switch between personal and protest, heartache and anger, and all the while feeling completely and utterly helpless.”

Beat Radio – Take It Forever
(REVIEW | INTERVIEW)

“Beat Radio’s fifth album Take It Forever feels like a culmination of ideas, the product of some long, hard thinking… With a large dose of hope and a pervading sense of goodwill, Take It Forever plays like the manifesto of someone who doesn’t know all the answers but finds meaning in asking the questions, the words not of a revolutionary or prophet but an ordinary man striving to make life extraordinary, just as it should be.”

Talons’ – Work Stories
(REVIEW)

“Explores the pervasive disillusionment in a society that hasn’t yet lived up to what it promised, a society run for interests other than those of the people who make up its majority. A society that offers hopes and dreams of resplendent lives in exchange for your hard earned $$$s, education courses that leave people stranded with more knowledge but no money, opportunities or sympathy. These are songs for people who wonder ‘when did it become not okay to do what I want with my life?’ Work Stories is a reminder that it’s okay to occasionally feel afraid or sad, that the things which trouble you are probably not as much your fault as you think, and most of all that, despite how it might sometimes feel you are never, ever, alone.”

Mount Moriah – How To Dance
(REVIEW)

“Mount Moriah push past their troubles into something positive and mysterious, a conglomeration of symbolism, mysticism, universality and other cosmic forces which pretty much equates to Southern Gothic 2.0. How to Dance is crafted from spirit and faith, carved out of a high, wide hope capable of healing any wounds, giving us the courage not just to survive, but to live.”

The Chairman Dances – Time Without Measure
(REVIEW | INTERVIEW)

“The Chairman Dances succeed in bringing characters to life in three dimensions, though on Time Without Measure the feat is even more impressive as the roster of figures are not only numerous but also known to history in decidedly superhuman terms. Now more than ever we should remember that activists and political heroes, for all of their spirit and unimaginable resolve, are as prone to doubt and death as anyone, and not half as powerful without our support and belief. Likewise, we’d do well to remember that villains and bigots are human too, flames that, however fierce and bright, will be snuffed out without the oxygen that is our backing. This album is a reminder that belief and faith can save us. It’s just a matter of choosing the right thing in which to invest our energies.”

Karima Walker – Hands in Our Names
(REVIEW)

“Hands in Our Names sees Karima Walker reconstruct an array of varied elements into something larger and more meaningful than they could ever be alone. Field recordings from her present and found recordings from someone else’s past swirl above and beneath her own words and guitar notes, drones of every pitch filling the background and stretching the songs into worlds of their own. When atomised into separate parts, the album is impressionistic, blurry and strange and difficult to describe, though when listened to as a whole, a blanket of stitches, it becomes something vivid and intuitive. As such, Hands in Our Names is able to convey things normal songs cannot, a freedom not just born of trope-avoiding experimentalism but somehow inherent in the very combinations of sounds, as though arranged into secret patterns or codes, magic spells that trump postmodern convictions. Rather than dying in open air upon leaving her mouth, Karima Walker’s communications bubble from within, stirring that dormant empathy that lies somewhere near the centre of us all.”

Sioux Falls (now Stranger Ranger) – Rot Forever
(REVIEW)

“Sioux Falls’ sound reads like a melting pot of the last twenty years of rock music. Taking the indie rock of the likes of Built to Spill et al., the band add thoughtful emo (like The Hotelier) and smart pop punk vibes (think LVL UP etc.) to create something wonderfully varied and entertaining, cycling through these genres not just between songs but within them. The narrator is centred within the stories of which they sing, sounding like another confused player in violent, unfair game operating to rules outside of anyone’s understanding. In the face of bewilderment they turn to anger and sorrow and joy, feelings easy to recognise, easy to submit to, decidedly non-ambivalent chemical reactions which remind them that they’re still alive.”

John K Samson – Winter Wheat
(REVIEW)

“The Weakerthans frontman’s first release since 2012 is everything we’ve come to expect, exploring his favourite themes of contemporary loneliness and isolation in his uniquely warm manner, his characters not ready to give up hope that connection (that is, real human connection) is still possible in our digital world.”

Nap Eyes – Thought Rock Fish Scale

“Nova Scotia’s Nap Eyes return with a sophomore album of rhythmic, ear-worming slacker folk rock songs, recorded completely live with no overdubs in just four days. Nigel Chapman’s lethargic monotone vocals give the whole thing the feel of a daydream, like the wandering high-brow thoughts of a sleepy philosophy/psychology major.”

Jeremy Squires – Shadows
(REVIEW | INTERVIEW)

“Does what the very best folk music can do, an outpouring from one human being to a multitude of others. It’s a record borne out of legitimate heartbreak, the end of a marriage and the death of a loved one, a brave and honest attempt to deal with big life-changing events. Deft songwriting allows Squires to expand these specific, individual scenes into large, engaging metaphors, in which we can find shards of our own experiences. The beauty of it is that the finished work is not just healing and revelatory for the artist. It can help us too.”

Loone & Paper Bee – Now I Know You and See How Wide You Are to the World
(REVIEW)

“Now I Know You and See How Wide You Are to the World is a terrific album. It’s as rich and as complex as life itself, steeped in passion and poetry, whirring like the universe and everything in it. There’s a line at the end of ‘Ugly, I’m Sorry’ that sums up the whole release rather nicely, capturing its in a handful of words far better than I am able to in this review: ‘And I wanna hold your hand / and go explore the pulsing humming darkness’.”

Spartan Jet-Plex – Get Some
(REVIEW)

“Taken at face value, Get Some is an indistinct album, the themes and meanings wrapped in layers of abstract lyrics and varied instrumentation. However, this vagueness itself curls and contorts and creeps into your head, eluding inclinations to describe and detail and thus bypassing the whole processing machinery most music must enter. As such, Kells’s thoughts and feelings arrive whole, unaltered, meaning that you feel what’s being said, even if it’s impossible to put into words.”

Kyle Morton – What Will Destroy You
(REVIEW)

“While Typhoon’s fourth record is still in the works, Morton last month released a surprise solo album, What Will Destroy You. Again the twin themes of tragedy and pleasure are central, as is the idea of catharsis and release. However, while mortality is an intrinsic element, the album does not tread the exact same ground as previous Typhoon releases. What Will Destroy You shifts the focus onto love, more specifically what Morton describes as “the ambivalence of erotic love,” leading to an intimate, surprisingly honest album which delves into things both more wonderful and mundane than your average love songs.”

CHUCK – My Band is a Computer
(REVIEW | INTERVIEW)

“Playing like a collaboration between Owen Ashworth and Bret Easton Ellis, the CHUCK brand of observant and at times cringe-inducingly honest indie pop will no doubt prove divisive. But there’s far more to My Band is a Computer than drugs and self-pity and empty sex. Like the Frog release that Audio Antihero brought us last year, it crams an awful lot into its run-time, covering everything that’s terrible and everything that’s not about being a young adult in the twenty-first century, somehow managing to tap into the human kernel at the centre of our zombified lurch of nostalgia and regret.”

Monarch Mtn – Everyone is Here
(REVIEW)

“It would be wrong to consider the music of Monarch Mtn as simply a two dimensional mope-fest, with Farmer’s poetic lyrics and warm delivery hint at something beyond the misery. The palette is undoubtedly gloomy, blacks and greys and deep blues, but Farmer’s warm vocals and poetic turns of phrase flicker across this twilight like threads of gold.”

Claire Cronin – Came Down a Storm
(REVIEW)

“The real success of Down Came a Storm is how Claire Cronin and John Dieterich combine to spin stories and landscapes from their combined talents, every element given equal standing to conjure not only folk tales but the worlds in which they exist. Here you can feel the wind on your skin, hear it move in the trees, smell its scent of salt and earth and ozone. You can feel it move the characters too, propelling them into dark, poetic places where nature rules and comfort can be found in the starkest of elements.”

Adeem the Artist – Kyle Adem is Dead
(REVIEW | INTERVIEW)

“The word ‘sincere’ is often taken as synonymous for affectionate or sentimental. With Kyle Adem is Dead, Adeem the Artist strives to be sincere in every sense, finding the bravery not just to declare his love for his wife but to voice his fears, his weaknesses, his exasperation with life as we live it. With everything on the table, no lingering mysteries or secrets withheld, there is nothing left to corrupt the good things. Because, after all, Kyle Adem is dead.”

Mal Devisa – Kiid
(REVIEW)

“Kiid is a personal record and plays like condensed version of life, reaching high and falling low, crackling and bursting and simmering under the surface, at times exploding in urgent streams of consciousness as if the words and thoughts can no longer be held in. This is an album that refuses to be reduced to something easily describable, persevering in it’s complexity against the binarizing forces of anxiety or genre or gender or race. Kiid isn’t a self-doubt record or political record, nor a sad record or a happy record. It’s not jazz or gospel or indie rock. Kiid is everything. Kiid is whatever it wants to be.”

Lisa/Liza – Deserts of Youth
(REVIEW)

“Wonderfully minimal and psych-tinged songs that will doubtless appeal to fans of  soft and sad outsider folk artists such as Sarah Winchester. At times it’s gossamer thin, with Victoria’s vocals little more than hushed murmurs, though even in these quiet moments her words hold a kind of understated magnetism, a power which draws in the instrumentation and in turn becomes augmented by it. Deserts of Youth shows you don’t necessarily need to raise your voice to make a statement, that even quiet songs can be imbued with a blazing energy.”

Old Earth – Lay For June
(REVIEW | INTERVIEW)

“Trying to put Old Earth’s music into words seems futile and kind of besides the point. There’s never going to be a satisfactory way to describe art so fluid and weird and instinctive, so all we can tell you is what it sounds like to us. It’s operating on a deeper level, one not easily outlined, playing on some atavistic region of the subconscious that reacts to fear and beauty, that treats intense wonder and dread as the same emotion. It’s the same area of the brain that tells us to light candles and throw coins down wells no matter how secular our society becomes.”

What were your favourite albums of 2016? 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 2016 appeared first on Various Small Flames.

“For all the woe and doubt, the record never deviates from its primary message – each and every moment is a law unto itself, be sure to live in it and for it because, be it good or bad, it will not last forever”

To explore the record a little further, we put some questions to the faces behind Dicktations and received some rather interesting answers. Dig in below!

Hi Dicktations, thanks for speaking with us. How is life at this time of year in NYC?

Miguel: It’s just now starting to become very cold. The heat in our building is finally on and it gurgles in the manner of a large beast with Troubled Bowels. The leaves are half gone, and it is all very pretty. I find myself compulsively listening to Yo La Tengo, Nico, and Joni Mitchell. The fall is a special time—I always feel completely awful. Maybe recent L.A. transplants Brian and Torsten can offer their thoughts on the west coast’s take on this season.

Brian: LA is its usual sunny self but we actually got some decent rain this past weekend, which I loved. I’m troubled at how cold 60 degrees feels to me now. It was funny watching the debut of Jared Goff, the no. 1 pick of the Rams, playing at home in the pouring rain.

In our review of Super Paradise we mentioned how you said the album was “an index of a weird time in our lives” and was created in response to a period of what can only be described as existential crisis. Did the record help you make sense of all of that? Was it a cathartic experience in recording and releasing it to the world?

Miguel: It’s hard to say. The record took forever to make and felt like a sticky thing. Letting go of the record helped me let go of that time. But I don’t know that making music or art, for me at least, is really cathartic, or even a way of processing things. Music-making is like this alien compulsion that the events of my life, at best, furnish. My emotions and experiences are the most readily available material through which to articulate it. The compulsion is indifferent to all of that, though. Most of the time it is hard to express how I’m feeling or where I am through any medium or mode of communication, let alone music. I can’t say I really sit down and make music for the purpose of expressing myself. That being said, making music feels extremely correct, in a way that nothing else does, and in a way that I think is distinct from the classic artistic framework of catharsis and sense-making. It’s probably the only thing I do for the sake of doing it.

Brian: Agree completely with the last line, I think you summed it up really well. As far as the “weird time in our lives,” Miguel and I were both living at home, working mindless if not thankless jobs and wondering what the next step was. I kind of see my last year as a state of limbo – most days I felt like I was just hanging suspended in this reality. For me at least, it was existing, not living. That impulse pushes me to make music.

At twenty tracks, and running through a variety of styles and moods, the album is pretty much a double album in terms of length and scope. How/why did you decide that these songs all belonged on the same release? Was it to do with themes? Or the period of time in which they were written?

Miguel: We were eager to produce as much material as possible. The folder on my hard drive that contains the original demos for this record is titled ‘Dicktations Swan Song.’ It was my understanding that this was the last thing we would make when we started making it—at the time, towards the end of college and the beginning of that summer, I thought I might be moving to L.A., too. ‘Dicktations Forever’ was one of the first songs I wrote for it. The lyrics came to me spontaneously, which is rarely how it works out for me. I was about a month before graduating from school and, maybe I couldn’t recognize it at the time, I was on the cusp of this really difficult reckoning with how the self is constituted and the strangeness of being able to identify all these major, imminent changes in your life but being unable to anticipate how they will feel. That kind of provided a goal post for what the record would be about.

We used every song we recorded on the album. I tried sequencing it as a full twenty track record, and I think, by merit of these songs being written by us throughout this whole period, it felt thematically cohesive and even had a narrative arc. I think by the time I wrote ‘Heather,’ I knew it belonged at the end of the record that charted out this course towards refusing to be defined by history, trauma, and sadness. We talked a little about cutting tracks but decided not to. I have always been drawn to sprawling records that jump across genre. The first quasi-Dicktations record set out to be that way very deliberately. H*CKHOUND is basically the one time we’ve ever engaged in self-editing.

Brian: I also love the sprawlers. I’m really happy with how all the songs ended up fitting together despite the different styles. I love records that flow from song to song and I think we achieved something like that.

Who/what do you consider influences on your work, both sonically and in terms of writing? Are there art forms other than music (literature, movies, visual art etc.) which you consider important in shaping your style?

Miguel: I’ve always seen Dicktations as my dream rock n roll outlet. Something that takes its cues from everything I like from rock. I think the main reference points for my songs on that record—Thin Lizzy, The Replacements, Big Star, The Wrens—were formative for me but not necessarily indicative of what I listen to and resonate with most at this point in my life. Writing lyrics is extraordinarily difficult for me. When I was writing words for my tracks on the record I kept pushing myself to be as direct and frank as possible, which I think all those bands do well. I love the unceremonious nature of Paul Westerberg’s confessions. The way he loses his resolve at the end of ‘Unsatisfied’ or has to work his way up to sing a line like “[a]ll I know is that I’m sick of everything that my money can buy” on Here Comes a Regular. There’s nothing monumental about the way he expresses his feelings. I like to think that for all its length and scope, Super Paradise is ultimately pretty unambitious and understated.

I find literature and critical theory to be really influential on how I think about my relationship myself and others and how I ultimately write. I think my anxiety about being overdetermined by history was a pretty direct result of the spiritual and intellectual fatigue I felt studying Anthropology for four years. Most recently, the novel I Capture the Castle [by Dodie Smith] helped me finally write the words to a very difficult song.

Alex: For me, my playing style is truly influenced by my personality…and my personality is truly influenced by Kate Bush (my perception of her based on videos, interviews, and her music in general, at least). I feel very animated and emotional when playing music; sometimes I think about what I would look like if the drums were totally transparent, with just my wobbly, swishy, bouncy, flailing and/or unnaturally still body visible (i have no formal training on how to play drums in a way that won’t eventually cause self-harm) and every time: I see myself surrounded by characters in one of her amazing choreographies.

Brian: Musically, influence #1 will always be The Beatles for me I think. As far as influencing me as a writer and rocker, Bruce Springsteen. I’ve teared up to “Backstreets” so many times. Richard Thompson is a guitar god I dream of playing like one day. The Smiths, Weezer, The Band and Teenage Cool Kids are some of my other favorites. The Wrens were my soundtrack for the past year, they’re an amazing band. If I did a ‘Mount Rushmore’ of my singing influences, it would be: Jonathan Richman, Charles Bissell, Kevin Whelan, Rick Danko (so f*cking plaintive!) and Andrew Savage.

Most of your releases were accompanied by creative and rather in-depth supporting pieces of writing, which I find really interesting and illuminating. I was wondering how central these are for you to the albums as a whole? Are they footnotes or another facet of the main body?

Miguel: I think the way I’m about to answer this is a way of thinking about it that definitely came after putting out Super Paradise, so I’m almost interpreting myself here. I think of the essay and annotated map that you get when you download the album are all parts of the artwork-as-a-whole. A friend of mine mentioned using Google Maps—I do this all the time—to cruise the locations on the annotated map and in the essay while listening to the record as an illuminating experience, and I think that’s almost how I would recommend experiencing it. I think the internet and digital medium offer great opportunities to rethink what an ‘album’ is. Lemonade and visual albums are a big budget way of approaching this, but I think there are plenty of more DIY ways to realize the possibilities of the medium. H*CKHOUND dabbled in this too—the liner notes featured “stage directions” for each track.

I can be very obsessive. I love the idea of exhausting something, like what Georges Perec does in An Attempt at Exhausting a Place in Paris, where sits in one intersection for days and describes every detail he sees. Or a gothic cathedral—a space so dense with signification, through all its decorative statues and stained glass, that it’s never available in its entirety to any given viewer.

You said in a recent Facebook post that Dicktations are no more, and posted a song from a new project. What can we expect from you in the future? Do you see your new work as a marked change from Dicktations?

Miguel: I’ve been doing stuff as Miserable chillers for a few years alongside Dicktations and other projects, like Drug Pizza and Magic the Happening!. Miserable chillers is my outlet for music that engages with referents that have more in common with what I’m into now. It’s synthier and a little more abstract. I’m letting my love of all those British sophisti-pop bands from the ‘80s, like Prefab Sprout, or Blue Nile, consume me.

Brian: I’ve been releasing music as Living Large since high school and recently my brother Dan (aka Rick Rubin of Dicktations) and I have recorded two albums at his spot, Boca Studios in Somerville, Mass. (Boston bands, hit him up!)

Finally, could you name four or five acts you think we should be listening to (be they old or new, popular or obscure, etc.)?

Miguel: Jay Som, Tredeci Bacci, Wintertime, and Mal Devisa are new artists that I really like. Willis Alan Ramsey is a Texas troubadour from the ‘70s who is somewhere between Townes Van Zandt and Harry Nilsson and his one album has been on heavy rotation for me for the past year. Also, Will Toledo of Car Seat Headrest has been a pretty indispensable champion of our music, and I owe him a big thanks and shout out. Teens of Denial was one of my favorite indie rock records this year.

Brian: Teens of Denial is an amazing record and the show we played with them was also one of the best concerts I’ve attended. I mentioned them before, but The Wrens are one of New Jersey’s greatest bands. Out here in LA, I’ve been listening to two artists heavily: Steely Dan and more recently R.E.M. Aja and Murmur are both classics. Check out the early records. Early R.E.M. can hang with The Smiths. Our friend Chris has a gallery space (As It Stands LA, if you’re out here!) and a local band called Roses played there one time. I wasn’t at the show but I like them a lot, especially their song ‘Florence Girls.’ I recently found Greatest Palace Music by Bonnie ‘Prince’ Billy at the thrift store down my block so that’s my go-to driving CD. ‘New Partner’ is one of my all-time favorite songs.

Torsten: When I listen to Bach I feel as though God is real and that, though am I not perfect, there is a perfection I can sometimes glimpse and aspire to. It is a worthwhile trick to play on yourself. I really like John Eliot Gardiner’s groups performing the cantatas and Glenn Gould’s performances of the piano works.

You can grab Super Paradise and all of the Dicktations release now from Bandcamp.

The post Interview: Dicktations appeared first on Various Small Flames.

Tracklisting:

1. Fire – Mal Devisa
2. wild fire/flowers – Trust Fall
3. Home Alone – Max Gardener
4. Your Love – Jeremy Squires
5. Veins – Camp Howard
6. How To Dance – Mount Moriah
7. Good Evening – Adeem the Artist
8. Shallow – Candy
9. Francie Cool – Francie Cool
10. Bad Vibes – Zebrafi
11. Piece of Ivy – Jake Bellissimo
12. Snow Day – Julia Brown
13. Alive – Dear Tracks
14. Ted the Radical Westy – Ravetank
15. ft1 – naps
16. We Have The Perimeter Surrounded – Hallelujah the Hills
17. Bullet in a Broken Gun – Oscar Lush
18. Color Peels – The Wandering Lake
19. Nowhere Nothing – Oceanator
20. Suagr Skull – The Washboard Abs
21. Of Wandering – Littler
22. bicycle – Twelve Gardens
23. Ya Ya Ya – You Won’t
24. Find You – Family Video
25. Jack Campbell (Quick Jammer) – Dingus.
26. Candy – Fish Food
27. It May Very Well Do – 100 Watt Horse
28. Life – Whim
29. Meg – Hovvdy
30. Piano Player – The Hotelier
31. Calvary – Chris Bathgate
32. Postman – Sam Moss

The post March 2016 Roundup – A Mixtape appeared first on Various Small Flames.

As we wrote in our previous review, Mal Devisa’s music defies any one genre, instead favouring an organic oscillation between folk, pop, soul and hip-hop, and Kiid is a case in point. ‘Fire’ opens with gentle strummed guitar, Devisa’s vocals carrying things along with thoughts on anxieties and hopes for relief. As the track progresses the vocals grow in fervour, the instrumentation creaking at the seams before unravelling into noise.

“Fire in my brain
will you make it okay?

Does it kill you to know that we’re all dying?
It kills me to know”.

In an album that switches between genre so readily, it is Carr’s lyrics which act as the binding force. ‘In My Neighbourhood’ sees the first hip-hop crossed with pop to create something like tUnE-yArdS, ‘Everyone Knows’ is a near-jazzy number where Carr’s voice takes centre stage, and ‘Live Again’ is an indie folk croon akin to the older Cold Specks releases, though all are linked by the sincere, probing writing and startling vocal range. ‘FAT’ opens with heavy bass and descends into urgent, frenzied verses, only to segue into the sombre, soulful ‘Sea of Limbs’ tracks. Both the intro and the main track see Devisa stretch her vocals to their limits, flickering from breathy whispers to wide, top-of-the-lungs gospel songs that would fill any room. The open heart is matched in the lyrics too, with the main message stated with stirring forthrightness.

“You were solid,
you’re everything they told you could not be and more.
You were solid”

‘Daisy’ is a short, evocative pop song that smoulders along with a solid beat (“Oh Daisy, Daisy, I have seen too much of you / You’re driving me crazy with that bad attitude”), while ‘Forget That I’ is a slow piano ballad which ebbs and flows, falling somewhere between Sharon van Etten and Nina Simone. Closer ‘Dominatrix’ switches the mood again, a frenetic hip-hop song like performance poetry where the mood has been condensed into loops and played behind. The track finds Devisa at her most angry and assured, confident in the truth behind her attack on the white, patriarchal grip on culture.

“Messing around I wrote a masterpiece
enough apologies I got caught up in my dreams.
Now I go by Mal Devisa,
avid rapper she’s a preacher
a non-conformist, non-believer”

Kiid is a personal record and plays like condensed version of life, reaching high and falling low, crackling and bursting and simmering under the surface, at times exploding in urgent streams of consciousness as if the words and thoughts can no longer be held in. This is an album that refuses to be reduced to something easily describable, persevering in it’s complexity against the binarizing forces of anxiety or genre or gender or race. Kiid isn’t a self-doubt record or political record, nor a sad record or a happy record. It’s not jazz or gospel or indie rock. Kiid is everything. Kiid is whatever it wants to be.

You can buy Kiid now from the Mal Devisa Bandcamp page, and Mal Devisa compilation cassette from the DZ Tapes Bandcamp page.

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