When I wrote an introduction to Burlington’s music scene for Vice in fall of 2015 – it was peak Bernie and the country seemed very interested in what the deal was up there – the first band I spotlighted was Madaila. Though barely a year into their career, Madaila seemed poised to be Vermont’s next big breakout, the dance-pop Phish or Grace Potter (though I guess these days the dance-pop Grace Potter is Grace Potter). The band earned millions of Spotify streams and garnered national attention from places like Paste and Relix. It seemed only a matter of time before they got a song placed in the right ad or an opening slot on the right tour and went supernova.
Amelia Devoid ft. Bleach Day – Afraid to Touch Her
Clouds dominate the single cover, and it’s hard to think of a more fitting image. This dreamy reverie seems the perfect soundtrack to staring into the sky and getting lost in your own thoughts. The electronic musician’s last album tackled some heavy themes (for one: genocide), but the new single seems light as a breeze.
When I first came across Vermont singer/songwriter/producer Zak Kline’s personal-empowerment single “I Will” in January, his gorgeous falsetto and intricate production immediately grabbed my attention. Like a Bon Iver song, it managed to sound intimate even buttressed by string sections, backing choirs, and huge crescendoing choruses. Compared to the earlier material I found on his Bandcamp, “I Will” leapt out. I assumed it was a bold new direction for a musician who’s been quietly releasing music for a few years.
Game of Thrones is constantly talking about “the old gods and the new.” So, with the final season approaching this weekend, what appropriate timing for a new song about some other old gods. It’s not about House Stark or Lannister belief systems though, but the deities of Greek, Roman, and Norse mythologies, and how – historically-speaking – winter did indeed come for them.
The song is “The Myth Has Broken,” by Vermont singer-songwriter Bishop LaVey (Kane Sweeney to his friends). He describes his music as “doom-folk,” a genre label that’s pretty dead on. Over spare and echoing guitar, he hollers a deep guttural roar, bringing goth-rock undertones even when the instrumentation would otherwise read as Americana. After dropping an excellent album in February, he has already followed it up with this new single.
Allison Fay Brown – Summit
I’m going to try to write something longer about Allison Fay Brown’s marvelous new EP later this week, so I’ll just leave the lead track here as a teaser. Like a good short-story writer, Brown offers just enough narrative details to intrigue while leaving plenty of gaps to fill in yourself. For instance…what’s in that box on the doorstep??
Don’t call Hallowell’s debut album “Christian rock.”
For one, it’s not really rock (though, like “indie rock,” these days the term “Christian rock” encompasses an array of genres). But more importantly, the label pigeonholes the music. Joseph Pensak, the man behind Hallowell, may be a a Presbyterian pastor singing spiritual songs, but his music wouldn’t really fit on any modern CCM playlist. He says that, though he likes some of the music contained within, he disdains reductively labeling a genre simply “Christian”: “It makes my skin crawl and sadly some amazing bands got unhelpfully placed in that genre and thus didn’t get heard by the much larger audience they deserved. As Sufjan said somewhere, ‘Christian’ is a terrible adjective.”
Barika ft. Erica T Bryan – Change Your Mind
Barika typically operates in the world-music space (leader Craig Myers plays West African string instrument the n’goni), but “Change Your Mind” points to an intriguing new direction for them. The funk and soul points more towards New Orleans than New Guinea, and the electronic production makes it sound modern, avoiding the relics-of-history feel of so much that gets marketed as “world music” these days.
Vermont quintet Fever Dolls’ debut single “Gennifer Flowers” ranked second on our Best Songs of 2018, and now they’re back with a follow-up: “Adeline.” Never short on ideas, the band packs a lot into under three minutes. In this case, an entire piece of musical theatre written in miniature, plotted around a husband and wife both in love with the same woman.
“[Singer Renn Mulloy] and I spent years playing in different bands with people that wanted to make Radiohead’s Kid A,” says songwriter Evan Allis, “while we were trying to make Disney’s The Kid.“
Adaline – Genese’s Song
“Genese’s Song” sounds like a Simon & Garfunkel tune recorded on the Mountain Goat’s early tape deck. Like Adaline Bancroft’s entire album, there’s a hiss and fuzz (the songs were indeed recorded on a four-track tape machine) that adds a haunting distance from the music. It feels like unearthing a dusty old recording, weathered with time, but with the tenderness and beauty shining through the decay. Fellow folkie Eric George joins on upright bass for this song, though that’s an instrument the tape recorder can’t really capture.
Vermont multi-instrumentalist Katie Trautz has been recording other people’s music for a decade. But, until now, never her own.
She plays fiddle in a host of of local bands, from country music group Wooden Dinosaur to Cajun duo Chaque Fois. She sang in vocal choir The Bright Wings Chorus, and wrote a book a couple years ago teaching harmony singing to kids. She co-founded the Summit School of Traditional Music and Culture in Montpelier, and teaches violin in her spare time.