As a former New York City resident, I can think of few neighborhoods I’d rather live in than the Upper West Side. Old money and overpriced, overprecious grocery stores every block – no thanks. But the Smittens’ gloriously catchy indiepop song almost makes the UWS appealing.
“Foxy folk” was the genre tag Abbie Morin adopted on 2015 solo album Shadowproof. The catchy branding isn’t accurate anymore. Like bandmate Caroline Rose, Morin has recently changed sounds (band names too in this case; Morin now performs as Hammydown). But it wasn’t entirely accurate then either. “Foxy folk” doesn’t really capture a song like “Better Half.”
Ava Marie bills themselves as folk music – their Bandcamp handle is literally “avamariefolk” – but don’t expect any acoustic guitars on “White Hides.” This is folk music as channeled through mewithoutYou, weird and knotty and hyperliterate. Or, if a mewithoutYou comparison means nothing, try The Decemberists – this song does toss in words like “loam” and “brackish” – if someone turned the dials up on all their distortion pedals.
The genre tag “quiet storm” refers to emotive R&B ballads across eras. Named after a Smokey Robinson song, quiet storm emerged as a popular radio format in the ’70s and later grew to encapsulate the neo-soul boom of the ’90s. A playlist that segued from Luther Vandross into Sade would be peak quiet storm.
Clever Girls’ music sounds nothing like quiet storm.
Greil Marcus first coined the term “the old weird America” to describe the strange sounds on Harry Smith’s Anthology of American Folk Music collection. He connected those ’20s and ’30s folk and blues recordings to Bob Dylan and The Band’s “basement tapes,” which drew these dawn-of-recording-technology sounds and songs into the pastoral country-rock 1960s.
Ali T – Electric Haze
Alison Turner is an artist out of time. She’s a singer-songwriter, but not with the folky connotations the phrase often takes on. Rather, something like “Electric Haze” sounds made for radio. Late-’90s radio, that is, when artist like Jewel and Meredith Brooks were racking up top-ten hits. It wouldn’t have a chance today, but “Electric Haze” ably walks to tricky line of engaging with nostalgia while creating something new.
When I saw boys cruise live, the four band members switched pants with each other mid-set. They exchanged instruments too, but pants-swapping tends to steal the spotlight from musical versatility. Like a rock-show Alice in Wonderland, the quartet rotated around the stage after every song, leveling up the antics each time. At one point, they cut off a band member’s hair onstage and threw huge hunks into the crowd. Then they smashed the chair he was sitting on. That went into the crowd too.
When I saw Vermont-based guitar wizard Tom Pearo deliver a masterful album-release show recently, he made a comment about how I Am A Mountain soundtracked a movie playing in his head. Something in the way he said it made me think he had more in mind than a band’s standard promo line about how cinematic their new album is. Sure enough, Pearo has a very specific story in mind. Think a coming-of-age road journey as told by J.R.R. Tolkien (which I realize basically describes Lord of the Rings, but most of the battles in Pearo’s movie are internal).
Charlie Hill’s band Bison was one of the best new post-punk band of recent years. But since their untimely demise last year, he’s moved onto other genres. His solo project Chazzy Lake looks forward – while looking much further back.
Adam Rabin – The Other Room
You’re going to want to sing along to “The Other Room” after a listen or two – but I wouldn’t. The sketches of plot offered sound like a sci-fi family dystopia, a Black Mirror episode for children.
The Cheyenne Brando – Samsonite
So thoroughly does Endtime Hymns evoke certain bands that one begins looking for echoes everywhere. Is the title “My Jean Sebring” a nod to David Bowie’s “Jean Genie”? Does “Poisonhead” reference ABC’s “Poison Arrow”? Was “Privacy of Lucy” inspired by The Cure’s “Pictures of You”? Each connection a greater stretch than the last, and likely none intentional. Christian Hahn does explicitly cite the heyday of post-punk and new-wave in his bio though, and, sonically, the comparisons are everywhere. His next song might as well be titled “Bizarre Love Triangle Will Tear Us Apart.”