And, of course, being comprehensive is impossible these days, so let us know if we missed your favourite and maybe we’ll add it to the collection.

Tall Friend – Tawl Friend
(RIYL: bedroom pop, lo-fi, bugs)

Talons’ – Growing Up / Work Stories / Shitty Aja
(RIYL: lo-fi, sad, post 9/11 angst)

Terry Vs. Tori – s/t
(RIYL: indie pop, summer)

The Grey Estates – Summer at The Grey Estates Volume 2
(RIYL: garage, dream pop, summer)

The World is a Beautiful Place & I’m No Longer Afraid to Die – Formlessness
(RIYL: indie rock, emo, re-takes on older songs)

These Bashful Claws – Everything, All At Once
(RIYL: emotive pop, alternative, Gleemer)

Thiago Nassif – Tres
(RIYL: alternative, electronic, experimental)

Tiger in My Tank – Skinned Genie and the Same Chords
(RIYL: indie pop, dream pop, “mid-fi”)

Trace Mountains – Buttery Sprouts & Other Songs
(RIYL: bedroom pop, LVL UP, lo-fi)

Triathalon – Cold Shower
(RIYL: pop, r&b, smooth moves)

Varsity – Smash / Still Apart
(RIYL: indie pop, sports)

The Wandering Lake – From James’ Garden / Ashame
(RIYL: psych folk, indie rock, desert rituals)

The Washboard Abs – Have U Scanned Ur Club Card?
(RIYL: indie pop, lo-fi, nostalgia)

Will B & the Teen Creeps (now Lanky Boy Club) – Slackers
(RIYL: bedroom pop, slacker)

Woods End – I
(RIYL: folk, alternative, winter)

Young Jesus – Void as Lob
(RIYL: indie rock, lo-fi, spoken word poetry)

Your Heart Breaks – From Mount Eerie / Ryan Woods / Toby Foster / Theo Hilton / Clyde Petersen
(RIYL: folk punk, Nana Grizol, Defiance Ohio)

Yours Are the Only Ears – Low
(RIYL: bedroom pop, sad, melodrama)

Be sure to check out the previous sections of our favourite free music of 2016 list here.

The post Favourite Free Music of 2016: T – Z appeared first on Various Small Flames.

The hectic fuzzed-out guitars on opener ‘Hidden Driver’ bring to mind Neutral Milk Hotel with their folk-tinged indie rock melodies. The song has a wonderfully joyous runaway quality, something that really comes to the fore when the drums kick in roughly half way through. Lyrically, it heads straight for the big questions, a breathless and conflicted contemplation of a higher power. It deals with religion in a very twenty-first century way, forgoing dogma or organised practices, but still refusing to give up on something beyond the physical world we experience every day.

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

‘Blur’ is all noodly guitar and Caridi’s vocals, a sub-two minute slice of melodic and emotive indie rock. ‘She Sustains Us’ follows a formula that will be familiar to anyone who has followed the band (or the Trace Mountains spin-off project), Benton’s vocals languorous and following the melody, on top of crunchy guitar and additional vocals from Susannah Cutler (aka Yours Are the Only Ears). The laid-back pop punk of ‘Spirit Was’ sounds warm and fuzzily emotional, the lyrics with an opaque, witchy quality, with lines like:

“I feel like a sketch of a perfect circle.

Light still leaks in,
black rings in the water,
I write your name in the dust where the spirit was”

To revert back to our preview, the album’s first single ‘Pain’ is “a track about being hurt in the past, and how such things can follow us into the present and beyond. The details of the past trauma are left vague but scathing lyrics indirectly paint a picture of great suffering, the narrator trying to help the victim wrestle their psychological demons while cursing the person who caused their manifestation…the musical equivalent of all those uplifting promises and mini-epiphanies that are made and exchanged between people desperate to recover.”

‘Closing Door’ is one of several tracks that are familiar from last year’s Three Songs EP, though it comes with a slight makeover and the audiovisual treatment by director Robert Kolodny. The video features Sean Henry looking like a grown up Mike Wheeler, wandering through a forest populated with slo-mo insects and multicoloured ghosts, eventually finding a welcoming room suffused with golden light and friendly faces.

‘Five Men on the Ridge’ is a heavy squall that dissipates as quickly as it arrives, hitting a lull with plodding guitars and gentle vocals before erupting again with a burst of guitar and black roiling clouds of harsh noise. ‘Cut From the Vine’ slows things down, Corbo’s lyrics a mix of pastoral images (“And when it’s quiet you hear animals at night / some can swim and some can fly”) and something slightly more supernatural (“And I see shadows on the hillside / and I hear voices in the wind chime / so if I’m not here in the morning / then I’ll see you on other side”).

‘I’ is another Caridi track, which is reminiscent of the more melodic parts of Hoodwink’d, before a real change of pace on finale, ‘Naked in the River With the Creator’. The song starts as with a slow slide of organ and gentle vocals, giving it a devotional air like some antiphon sung from an altar. Grainy static builds and builds, eventually drowning out all else and heralding heavy guitars and a stomping drum beat. The vocals get stranger, short staccato bursts like an incantation chanted around a wax-dripped table, a mantra to summon some ancient deity from the black water of the lake.

A lot of reviews seem to regard them basically as a reheated version of Pavement or Built to Spill, though such comparisons miss the key part of their spirit. There’s a depth here, an intentional ambiguity that listeners are invited to tune in to and meditate on. LVL UP hit that sweet spot between fun pop songs and something a little more profound, with that essential dash of mystery and weirdness to makes things interesting.

Return to Love is out now on Sub Pop Records. You can get it from the LVL UP Bandcamp page or the Sub Pop webstore, including on CD, LP and cassette.

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Tracklisting:

1) Evening Loving – Jenny Gillespie
2) Luxury – Patio
3) Low – Yours Are The Only Ears
4) Either Way – Sorority Noise
5) Home at Last – The Sports
6) Braver – Sally Fowler
7) Chow Chow – FAYE
8) Meant – Spartan Jet-Plex
9) Stained Glass Eye – The Dead Tongues
10) October – These Bashful Claws
11) Bad Vibrations – Naps
12) Baked Goods – Young Jesus
13) Heroine – BB Cream
14) Winona Death Ryder – Boy Problems (No Dice Tapes comp)
15) The Only Other Girl From Back Home – Advance Base
16) When it Feels – Soft Spell (STAY RAD SAV comp)
17) The Unnatural – Claire Cronin
18) Same Old Ocean – Crabapple
19) Diet Coke – Lake Michigan
20) Ferris Beuller – Flatsound
21) See Good – Jobless
22) Anything but Yourself – Tom Greenwood
23) Under the Mountain II – Mermaidens
24) Liars – Gregory Alan Isakov
25) Warning Sign – Mikko Joensuu
26) Candy – Fish Food
27) White Gold – Good Good Blood
28) We Bury Our Dead Alive – Coping Skills
29) Joke/Rope – Haybaby
30) Slacker – Will B & the Teen Creeps
31) Double Bacon Cheeseburger – Yikes
32) All I Have – Derek Ted
33) Try Hard – Hovvdy
34) Dark & Gloomy – Horse Teeth
35) Migratory Birds – Western Skies Motel
36) Endless Wave – Hanging Valleys

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Intimate and delicate, ‘Low’ sees the addition of lonely chimes and the softest of synths to create something haunting yet warm, sounds steeped in small hopes and the passing of time. Lyrically, the song is very much for the confused young generation, bathed in that lingering, unnameable dissatisfaction or sadness that seems to work its way into the fabric of things. Here we find Cutler somewhat lost in the present, unsure of where or how she is (“Oh where / does the time go / I’m so high / and so low”), and relinquishing whatever semblance of freedom she once held in favour of submission to fate.

“I used to
make decisions
but these days
they seem to make
me

and i wondered
“where does it all go?”
and now
i know”

The track comes complete with a video by Taya Bayat, a lovely and surprisingly moving sequence shot in the American Museum Of Natural History and the surrounding park.

You can get ‘Low’ on a pay-what-you-can basis via the Yours Are The Only Ears Bandcamp page.

Artwork by Madelyn Bullard

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“Eskimeaux is basically me: it’s an empowered persona that has brought me warmth and fulfilment in times of isolation and confusion about my origins”

And with this knowledge of the origins of the name comes a glimpse into what has shaped Smith’s sound. This is not a beginning. Smith has more or less grown up with Eskimeaux, grown into Eskimeaux. New album O.K. feels like the product of that development, borne out of a sense of purpose and artistic confidence that comes with long hard years of trial and error.

That said, while Eskimeaux is Smith, it would be a misnomer to label the project a solo venture. Quinn Moreland‘s pretty extensive history of Smith’s music career to-date for Impose hints at the influence other musicians have had on Smith, tracing the evolution of Eskimeaux from inception to present, which sees Smith at the centre of a talented group of people in Brooklyn (partly as The Epoch collective) who work together on their various musical projects. When you thank the likes of Told Slant, Bellows, Yours Are The Only Ears, Florist, Small Wonder, Sharpless and Mitski for helping create your record, you know you are in good hands. As our preview of the album stated back in March:

“While the proof will be in the pudding, it seems O.K. is a testament to the power of gathering good friends and kind strangers who are all pulling in the same direction, a reminder that good, carefully put together art has infinitely more value than whatever the PR men and women try to push at you”

O.K. feels like an epiphany, where Smith has found the required confidence (almost certainly with the help of her friends) to speak openly without distortion or the safety-net of irony. The biggest temptation when feeling isolated and alone is to accentuate the feeling of dissociation, to lie to yourself or others by claiming that being understood (ie. less alone) is not needed. This could be through angry, primal art which strives to remind everyone that they are merely phony, bullshit-ridden animals who will grow old and die, or by creating art so abstract and inhuman that no-one can recognise it, retreating into the false security of faux-mysticism which aims to transcend the need for human connection. While Eskimeaux was never near the extreme ends of these avenues, Smith’s early work did see her feelings/message buried beneath a haze of ambient noise. O.K. sees this stripped back in favour of candid pop songs which fit very nicely into The Epoch back catalogue.

The album confronts loneliness head-on, outlining the strange but undeniable fact that each of us are distinct creatures cut off from the thoughts of anyone else, even those who mean the world to us. In lieu of telepathy, we are forced to communicate in crude alternatives, arranging words and gestures haphazardly in the hope of them saying what we really mean. ‘I Admit I’m Scared’, a song which worries about the effects you have one your loved ones, puts this quite beautifully:

“And everything I said
spewed like sparklers from my mouth
they looked pretty as they flew
but now they’re useless and burnt out”

While all the songs are linked by sincerity, there is a variation of sounds and styles across the album. Opener ‘Folly’ is a folk song bathed in reverb and guitars, the narrator casting a significant other as something magnificent and unknowable. ‘Pocket Full of Posies’ is a creepy, gritty track of vulnerability, while ‘Broken Necks’ is a bona fide pop song, a heartbreaking collapse of a relationship rendered danceable with synths and clap-along percussion and a catchy chorus. Current favourite ‘The Thunder Answered Back’ is more fierce, bubbling with certainty before exploding in the cathartic refrain of “You coward, you hummingbird”. The track continues with a dramatic closing, euphoric and elemental: 

“I screamed out how’d it get this bad? And the thunder answered back
if you know not what you lack then you must unturn your back
Your inside is overcast you are tethered to your past
and it must feel like fucking hell to be a patchwork of yourself,
a bunch of scraps thrown and sewn around your bones
and though you’re alone it’s holding you too tightly.
But who are you?
From where do you come?
What do you believe in?
Whom do you love?”

The sense of loneliness never leaves, but it’s joined by the acceptance of the weird paradoxical truth that you can never be OK without first recognizing the fact that you won’t always be OK. And, perhaps more importantly, the understanding that everyone is in the same boat. Obviously, for this to be a comfort then people need to make it known, so it’s lucky indeed that ‘Alone at the Party’ is the anthem of this realisation, finding solace and community in the fact that we are all at some level lonely. This is what Eskimeaux does best, she says things that might not be cool or pretty or ‘normal’ in order to help. In this way O.K. is like an unveiling, an opening of the chest, with Smith delving into herself to show us every gruesome detail that we too possess. We see her heart and lungs and rounded ribs, the fragile threads of nerves and blood vessels which twitch and tremble in the spotlight, we see a space lined with thorns or glass or thick black bile in which sits something hard and smooth and bright, something that we recognise despite it having no shape or weight or name. Closer ‘That’s OK’ concludes the viewing, cleansing the cavity with peace and sewing herself back up safe in the knowledge that communication has finally been achieved:

“Frankie is face down in our bed,
you are downstairs
and all I want is to hear you say
is ‘we’re not the same but that’s ok’.”

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

You can buy the album digitally from Eskimeaux’s Bandcamp, on CD/vinyl from Double Double Whammy or on beautiful cassettes from Mt. Home Arts (see below).

Embroidery artwork by Susannah Lee Cutler

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Eskimeaux is the recording project of Brooklyn-based musician and producer Gabrielle Smith. Adopting the moniker in 2007, Smith has put out a series of albums which vary from weird experimental noise to sad bedroom folk. Her forthcoming album O.K. on Double Double Whammy is said to be ‘beat-driven and poetic bedroom pop’, which sounds pretty good to us.

The usual Eskimeaux band consists of Felix Walworth (of Told Slant), Lago Lucia, Oliver Kalb (of Bellows) and Jack Greenleaf (of Sharpless), who also helped Smith arrange, mix and produce O.K. It seems clear that Smith has enlisted the talents of her friends to ensure that her album is as good as it could possibly be. As well as the DDW links, she is also a founding member of the Brooklyn songwriting/art collective The Epoch, and this release utilises all of her connections in the independent scene. Aside from the aforementioned band members, Smith also thanks Henry Crawford (of Small Wonder) and Mitski Miyawaki (AKA just plain Mitski) among others. The artwork is no less a team effort, with the main embroidery design by Susannah Lee Cutler (of Yours Are The Only Ears) adapted from a photo by Andrew Piccone, the cover photos by Richard Gin, the insert by Colin Alexander (of Flashlight O) and the spine by Emily Sprague (who you may know as Florist). While the proof will be in the pudding (i.e. how the full release sounds), it seems O.K. is a testament to the power of gathering good friends and kind strangers who are all pulling in the same direction, a reminder that good, carefully put together art has infinitely more value than whatever the PR men and women try to push at you.

Only one song is available right now but it definitely whets the appetites. ‘Broken Necks’ fulfils the poetic pop promise, with Smith’s sincere lyrics of love and altruism supported by unsteady percussion which give the whole thing that weird feeling where life has you sad and scared but you wouldn’t change it for the world.

“When I had a million arms I would wrap them around all your body parts
try to keep away all that could do you harm
try to keep out sickness and keep you warm

but every time the going got tough one by one they were falling off
While you were breaking your neck trying to keep your head up
I was breaking my neck just to stick it out for you
and I know we’d hang out everyday if I wasn’t 100 miles away

from our tadpoles gathering in the creek
and our baby birds learning how to shriek
All the eagles I still haven’t seen and the trees proudly alive and green
I could swear they are there just for you and me
whether friends or in love there’s an indisputable beauty”

You can pre-order O.K. now from Double Double Whammy on variety of vinyl designs. If cassette tapes are more your thing then luckily the good folks over at Mt. Home Arts have you covered (in what promises to be quite spectacular style – see below for an early prototype). We’ll write a full review once we get to hear it but trust our instincts and put your order in now.

P.S. The main photo is by the supremely talented Andrew Piccone.

The post New Album From Eskimeaux appeared first on Various Small Flames.

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

Tracklist:

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

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

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

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‘Fire In My Eyes’ was released on New Year’s Eve, and luckily didn’t manage to slip under my radar. The song is a lovely slice of folky lo-fi bedroom pop that starts with an intimate lovelorn feel, “i’m sitting inside / the room that is now mine / it comes in waves / i want to take care of you somedays”, before spiraling into something a little darker with lines such as, “i recall my hands around your throat / in the darkness of our hole / the colors are all muddy now / my angry footprint on your mouth”.

Luckily, the last verse comes full circle and revisits the cosy romance of the songs beginnings, “do you want to sit on a hill / and fall down with me? / we could make more coffee / or just fall back asleep.”

You can get ‘Fire In My Eyes’ right now via the Yours Are the Only Ears Bandcamp Page.

P.S. Here’s a fun fact for you – Culter also designed the cover art for Small Wonder’s Wendy. You can check out more of her art via Cargo Collective.

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