indie Archives - Page 9 of 12

How Do You Title an Instrumental Song?

Jan 122018

The song titles on Plastique Mammals’ debut album are fantastic. “The Whirring Keeps Me Up At Night.” “There Are Bigger Men Than Me.” And, maybe my favorite, the vaguely sinister “Twice As Many Bees.”

Here’s the thing though: all these songs are instrumentals. Plastique Mammals is Remi Russin on bass guitar and synth loops and Evan Raine on drums. No vocals. The ingenious titles in no way reflect the lyrics, because there aren’t any. Which got me wondering: how do you title a song with no words? Continue reading »

R2MeToo: This Robot Avenges Sexual Assault in Song

2 Responses »

Jan 032018

Zeus Springsteen doesn’t sound much like their namesake. A more apt mythological moniker might be Death Cab for Zeusy, or perhaps R.E.M.ortal (pronounce it like “immortal”). On their self-titled debut, the band piles hook upon hook, harkening back to the jangliest days of college rock. It’s full of funny lyrics like “I’m double-fisting antidotes for the common cold / and for growing old and bitter,” but the goofiest title of the bunch addresses a more serious topic – sort of. It’s a song about a robot avenging sexual assault. They christened him Joey, but I’ve taken to calling him R2MeToo. Continue reading »

The Best Vermont Albums of 2017

2 Responses »

Dec 192017

After counting down the Best Songs and Best EPs last week, our year-end look back comes to a close with the Best Vermont Albums. This list could easily have been twice or three times as long, but for the sake of concision – and offering a brief scene intro for outsiders – I limited it to ten. The cream of the crop, the albums with not an ounce of flab or filler.

Genre-wise, they run the gamut, from instrumental bass funk to snappy power-pop, from horn-flecked Americana to roaring slacker-punk. Some tackle current events with wit and insight. Some focus more on chilling, eating sweets, or doing laundry. The only unifying characteristic here is quality. Continue reading »

The Best Vermont EPs of 2017

4 Responses »

Dec 122017

What is an EP?

I don’t mean that as a philosophical question, but a practical one.

Back in the vinyl era, the EP had a clear reason for existing as a stand-alone format from the album. If you had enough songs to fill a 12-inch, 33RPM record, you made an album. If not, you put what you had on a 10-inch, 45RPM record and called it an EP. They looked different; they felt different; they cost different amounts.

In the digital era, free of physical limitations, the distinction has blurred. An artist’s latest collection of music can be two songs or two hundred. The idea that a 60-minute collection of music constitutes an “album” and a 15-minute one constitutes an “EP” is purely artificial.

Yet the EP hangs on, because musicians like the format. Nowhere more so than in Vermont, where the EP offers new bands a way to test the waters and experienced bands a way to toss out a few songs between “proper” albums. In a musical climate where local musicians rotate constantly around new bands and monikers, the EP offers a low-stakes way to try out a new sound or collaboration.

As a result, this list is no ugly stepchild to the Best Albums list we’ve got coming next week. There may be no more practical reason to keep the EP designation, but these ten EPs justify their own reasons for existing. Continue reading »

The Happiest Song About Drowning You’ve Ever Heard

Comments Off

Nov 292017

We said J Bengoy’s last single should be the song of the summer. Their latest probably shouldn’t. It’s about almost drowning. Kind of a bummer subject for any season.

Not that you’d guess it from the lyrics to this power-pop jam. The opening line “Waiting for the weekend” anticipates an aquatic experience more Jimmy Buffett than Jeff Buckley. But the song’s optimism grew from a traumatic moment lead singer Justin Barton had on a Costa Rican vacation several years ago. While body surfing, a rip tide pulled him under. “I remember one minute ducking under a wave, weltering, and then being what felt like a football field from shore,” he says. “I only remember being focused on how to get back. My life didn’t flash before my eyes. My brain just went ‘Shit, this is a dangerous situation.'” Continue reading »

How Do You Make a Pop Radio Hit Sound Like Thin Lizzy?

1 Response »

Nov 272017

An immediate standout on Americana trio Near North’s full-length debut Most Every Night is the holler-along brawler “Good About You.” The song channels the best of classic rock, bringing to mind bands like Thin Lizzy. But the artist that actually inspired the song couldn’t be more different: Adult-Contemporary pop singer Anna Nalick.

The song’s story begins a decade ago in frontman John Nicholls’ music class. His teacher assigned the students the task of writing a new song based on a current pop hit’s chord structure. Nicholls selected Nalick’s “Breathe (2 AM),” on constant radio rotation at the time. “I banged out a verse, pre chorus and chorus, just enough to satisfy the assignment and never thought about it [again],” Nicholls says. Continue reading »

Watch Swale and Madaila’s Mark Daly Cover the Righteous Brothers, Snoop Dogg, and Marvin Gaye

Comments Off

Nov 032017

As anyone who read last week’s Best Vermont Cover Songs posts knows, I held an event in Burlington this week to promote my new book Cover Me: The Stories Behind the Greatest Cover Songs of All Time (locals who missed it: I left a bunch of signed copies at Phoenix Books!). And rather than give a dry book talk, I recruited some of Vermont’s finest musicians to cover songs from the book alongside conversation with expert moderator Brent Hallenbeck of the Burlington Free-Press.

I wrote about the event at length over at Cover Me, so here I will just say that both Swale and Madaila frontman Mark Daly delivered some truly amazing covers. Swale kicked off the event with a beautiful acoustic version of “Unchained Melody,” followed by Daly nailing “I Heard It Through the Grapevine” and a “Gin and Juice” both hilarious and haunting. Watch videos of all three below. [Update November 8: Plus a long video of the full thing, including my conversations with Brent] Continue reading »

“Country Choogler” Puts John Berger Essay to Music

Comments Off

Oct 272017

If you hear the phrase “a song about animals,” you probably think of Raffi. But I’d wager Raffi never wrote about an essay exploring how humankind’s transition from agricultural life to capitalism centuries affected our relationship to the animal kingdom (unless I am seriously misreading “Baby Beluga”).

On his new song “Something Free,” Vermont singer-songwriter Michael Roberts picks up Raffi’s slack. Roberts usually records great country-rock music under the band name Wooden Dinosaur (including one of my favorite albums and songs of 2016), but for this new single he took a $20 tape recorder and did it all himself. Which isn’t to say this is tossed off – not even close. Over what he ably terms a “laid-back lo-fi country choogler” of a tune, he sings dense lines like “I want something free I can call my own / Domesticated animals brought to my home” and “The smell of the hunt, the patience, the scenery / A blood Jackson Pollock sprayed on the leaves.” Intriguing to say the last, and I wanted more information. Continue reading »

Guthrie Galileo’s Song “Labor Day” Reminds Us Why the Holiday Exists

3 Responses »

Sep 012017

The electronically-influenced soul and R&B on Vermont singer and producer Guthrie Galileo’s majestic new album Modern Day Ripples generally sounds timeless. One track, however, is more of-the-moment: “Labor Day.” The album came out a few weeks ago, but this song offers a lot to think about this weekend in particular.

Over a bed of piano, synthesizers, and field recordings (more on those in a minute) that echoes James Blake or Frank Ocean, Galileo explores the ironies of a holiday meant to celebrate workers. “”Labor Day” was written on and in the days following the workers holiday [last year], a time when I was coming to understand the world with a class-based perspective,” Guthrie explains. “I was remarking to myself, as I went about the motions of my day job, about the fact that all the people I know worked during the holiday. The bosses and the management at work, however, were nowhere to be seen!” Continue reading »

Morrissey and Dostoevsky Inspire Complex Chamber-Pop LP

Comments Off

Aug 152017

Reading through Patrick James’ Genius notes to his new album Panosophy feels like trying to identify everyone on the Sgt. Pepper’s album cover. He shouts out Elliott Smith, Joni Mitchell, and Morrissey. He references Dostoevsky, Murakami, and Shakespeare. His influences on one song alone include The Cure, Felt, Aztec Camera, Blueboy, Tiger Trap, Oasis, and Nirvana.

All of which may make this music seem dense and unlistenable, like some sort of heady prog nightmare. But James, who records as Maybe (a name inspired by a favorite girl-group song), makes it work. He cites his “Brian Wilson worship” a couple times, and this album indeed reflects Wilson’s ability to place really complex orchestrations in the context of tidy pop songs. Intricate string and piano arrangements reflect James’ classical piano training, landing somewhere between the Zombies and Fairport Convention with a side of Philip Glass. Continue reading »