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“Folktronica” is a troublesome and somewhat cringe-worthy label frequently used to describe the music of UK artist James Yuill. First of all, Yuill’s music consists mainly of elements that are more acoustic/indie than traditional folk, and more house than electronica. Also… “folktronica”? That’s just a ridiculous word, period.

Technicalities and crazy labels aside, Yuill creates his own blend of danceable synth beats infused with singer-songwriter soulfulness, with gorgeous results. His 2008 release, Turning Down Water for Air, was driven by layers of airy vocals, acoustic guitar and dance-ready hooks that exuded a bubbling warmth.

I was completely enamored with “This Sweet Love” — it had the perfect mixture of tender lyrics and synthetic blips to melt my heart. “No Surprise” and “No Pins Allowed” were also in frequent rotation on my iPod.

Yuill’s newest album, Movement In A Storm, released in June earlier this year, trades in some of the poppy cuteness for a heavier tone and slightly more aggressive beats. It still has that trademark Yuill shimmer though — the song “On Your Own” glitters with light, tinkling synths that sound a little like wind chimes. I would say this and “Crying for Hollywood” — an upbeat dance track layered with guitar — are tied as my favorite songs of the album.

One thing that threw me about Movement In A Storm was the opening line of the first track, “Give You Away”, in which Yuill sings, “Nobody knows it, but it’s true / I hate myself and I hate you too.” I understand that part of the point here is to mix some melancholy with something fun and danceable, but in this case the angst just seems a bit over the top.

Movement In A Storm can be thought of as a kind of mix tape — you’ve got some mainly acoustic tunes, (“Foreign Shore”, “Wild Goose At Night”), some mainly electronic (“Give You Away”, “My Fears”), and some that are a mix of the two (“Sing Me A Song”, “Ray Gun”). The title of the album works well in describing the different genres explored within — it shifts between a thunderstorm of dance beats to a light patter of guitar strums, but all still falls under the general acoustic-electronic cloud we’ve come to know James Yuill for.

myspace | myspace.com/jamesyuill]]> http://www.indieshuffle.com/james-yuill-movement-in-a-storm/feed/ 3 http://www.indieshuffle.com/yeasayer-all-hour-cymbals-2/ http://www.indieshuffle.com/yeasayer-all-hour-cymbals-2/#comments Sun, 22 Aug 2010 02:37:34 +0000 kmanning http://www.indieshuffle.com/?p=10454

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Psychedelic rockers Yeasayer have not always brainstormed through the power of LSD to produce trippy yet poppy bass-driven tunes. The Brookyln band’s first studio effort, All Hour Cymbals, thrives with an unproduced sound, gritty even, with near whispy vocals from Chris Keating. At first glance, this doesn’t even seem like the same band that just crashed onto every hipster’s iPod.

Released in October 2007 on We Are Free, All Hour Cymbals is a mellow, acoustic-heavy version of their present selves. Duh, right? Well it takes a bit of digging to find the pure-rock driven Yeasayer that we all know and love today, but it’s there. With Middle Eastern influences, the drums drop heavy beats resembling that of their recent years. Made up of three core members (Chris Keating, Ira Wolf Tuton and Anand Wilder), Yeasayer dubbed themselves as “Middle Eastern-psych-snap-gospel” after this album was released.

With full understanding of all comparisons, Yeasayer takes some of the most unlike genres of music and fuses them together beautifully. “2080” is the powerhouse anthem of this album. Keating’s vocals echo throughout the entirety of the song, making this album underrated by means of “dance-worthyness.” The vocals range with every tone imaginable — the song fades out as children sing the lyrics and an acoustic guitar plays a peaceful melody.

One thing that Yeasayer has got down pat is the ability to create visuals in the listeners mind — of people, things or just patterns. With All Hour Cymbals, as with Odd Blood, the band doesn’t back down with psychedelic and trip-tastic instrumentals.

myspace | myspace.com/yeasayer]]> http://www.indieshuffle.com/yeasayer-all-hour-cymbals-2/feed/ 3 http://www.indieshuffle.com/jenn-grinels-little-words/ http://www.indieshuffle.com/jenn-grinels-little-words/#comments Wed, 18 Aug 2010 22:54:04 +0000 Tony Smith http://www.indieshuffle.com/?p=10307

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Jenn Grinels packed her bags and didn’t look back.  After releasing her debut album Little Words in 2007, the singer-songwriter has been touring non-stop across the country and blogging about her nomadic life, steadily growing a fanbase in anticipation of her next album. Her voice is killer, rich and full-bodied like a fine Bordeaux, and it slinks around the fabric of her acoustic guitar with heartfelt blues.

She nails it on her driving rock songs like “No Better” and “Treason,” but even on her more playful numbers like “Misery” and “I Know Your Heart”, her vocal performance is arresting.  It also helps when you write emotionally charged songs about relationship crutches, rough patches, and the bittersweet pain of love at a distance.

Buy her album and make your way to one of her shows.  Or even better yet, book her for a house concert through www.concertsinyourhome.com and invite the neighborhood.

myspace | myspace.com/jenngrinels]]> http://www.indieshuffle.com/jenn-grinels-little-words/feed/ 1 http://www.indieshuffle.com/chris-thomas-land-of-sea/ http://www.indieshuffle.com/chris-thomas-land-of-sea/#comments Thu, 12 Aug 2010 22:39:58 +0000 Hannah Simon http://www.indieshuffle.com/?p=10051

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While working out and listening to music go hand in hand, you don’t normally hear about great music discoveries from a yoga class. I guess I am one of those exceptional cases, because my yoga instructor played the song “Broken Chair” off of Chris and Thomas’s Land of Sea while we were meditating the other day, and I fell in love. It’s by no means a new album (it was released in 2006), but it affected me enough to write a post raving about it.

Just like a good red wine has subtle hints of other elements like chocolate, espresso, or cherry, Land of Sea has strong undertones of Simon & Garfunkel, The Shins, and Iron and Wine. What sets them apart from other acoustic folk bands is their lyricism and delicious harmonies. Listening to their deep, gravelly voices makes you feel like you’re sitting around a campfire somewhere in the American Southwest.

Chris and Thomas’s achy guitar strumming epitomizes the saying “there’s so much beauty in pain” to a T. From songs about yearning desire to self-discovery, Chris and Thomas weave a melodic blanket that showcases hope, fear, dreams and, of course, love. Indie Shuffle blogger J Meagher featured Chris and Thomas in a “Most Played Songs of 2009” list, and I can only bet that Land of Sea will work its way into everyone’s heart. Keep an eye out for Chris and Thomas’s new music – they recently released a three-song EP, and I’m sure there will be more to follow.

myspace | myspace.com/chrisandthomas]]> http://www.indieshuffle.com/chris-thomas-land-of-sea/feed/ 2 http://www.indieshuffle.com/nathaniel-rateliff-%e2%80%93-in-memory-of-loss/ http://www.indieshuffle.com/nathaniel-rateliff-%e2%80%93-in-memory-of-loss/#comments Sat, 31 Jul 2010 22:07:50 +0000 Taylor Fife http://www.indieshuffle.com/?p=9706

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After years of being dominated with varieties of twee, freak folk, and singer-songwritingy mellowness, independent music finally dealt with the oversaturation of acoustic guitars and harmonicas by shifting heavily into synths and sampling. Synthpop/chillwave/dancepop has had a pretty good run at this point, but the latest release from Denver’s Nathaniel Rateliff might be just enough to turn the tide back to something made with fewer computers, buttons, and faders. Rateliff’s ‘In Memory of Loss’ is a well executed indie folk album with impressive depth in the lyrics, writing, and production. Albums from folky singer songwriters often feel samey after only a few songs, but Rateliff seems to have anticipated that and intentionally made ‘In memory of Loss’ highly variable, displaying numerous influences. The singing is crisp and beautiful the way you would expect from a James Taylor or Jeff Buckley record, and the guitar work is just as precise and intricate as either of those two artists. This doesn’t imply that the album is overproduced; there’s still a raw emptiness in many songs, probably attributable to Brian Deck’s stripped-down production.

The album isn’t entirely toned down, however, as many of the songs are folk rock anthems in the vein of his future touring partners, Mumford & Sons. With a 14 song release it’s nice that Rateliff tries to keep the audience engaged by alternate between rocking out and sulking. The lead off track is particularly unique, featuring jazzy drums, violin, and piano as the main instrument. As this release appears courtesy of Rounder there’s a heavy dose of roots influence, and the album even touches on indie pop when the xylophone kicks in. Rateliff is currently part way through his first ever headlining tour, and will be at San Francisco’s Café Du Nord tonight.

myspace | myspace.com/nathanielrateliff]]> http://www.indieshuffle.com/nathaniel-rateliff-%e2%80%93-in-memory-of-loss/feed/ 4 http://www.indieshuffle.com/best-friends-forever-romance-conflict-adventure/ http://www.indieshuffle.com/best-friends-forever-romance-conflict-adventure/#comments Fri, 30 Jul 2010 22:38:08 +0000 Kathlee Cleveland http://www.indieshuffle.com/?p=9661

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There’s only three people I’ve ever wanted to trade bodies with. One is Bruce Willis’ French girlfriend from Pulp Fiction, the other two are Jessica Lee Seaman and Briana Jennifer Smith from Best Friends Forever. The first time I heard their music was two years ago when a guy I was crushing on told me he was sure that he could never love anyone else besides them. I totally understood why, then felt like crying.

The band formed in Minneapolis, where the two girls met, in fifth grade. This comes to no surprise, because their music is just as embarrassingly self-conscious, genuine, and awkward. They will tell you about their unshaved legs, the cold, hard truth about long-distance relationships, and about Abe Lincoln making a kinda hot boyfriend, and you will like it because you’ll think, “YES! I THINK THAT ALL THE TIME!” At the same time, the duo has a punk core that will resonate with less fuzzy friends.

Through squeaky vocals and clanging guitar riffs, the songs, while sweet, maintain a sarcastic sneer. My favorite song is called “Tape Song,” an easily distributable melody to anyone who has come too close too soon. The chorus states blatantly, “The further away, the fuzzier your face, the harder to make out your less desirable traits. When I’m looking at your through a telescopic lens, it’s easier to use my imagination.” Ouch. Another tried and true fave is “Backpocket,” which will transport you right back to the awkward moment where your hand and her butt first touched, complete with chimes and fuzzy guitar.

In addition to the charmingly accessible lyrics, BFF relishes in camaraderie with audience members and the feeling of sing-along rather than individualism. All of their songs are grungy, raw, and easy to sing to, often with a choir of background singers. I think it gives the entire album a warmth that is often missing from rock (and punk rock, if you can consider this punk). Every song weaves a new story, with sharp wit and cunning sarcasm, and if you don’t fall in love with these two by the end of the album, well… you have no soul.

myspace | myspace.com/bestfriendsforeverandfriends]]> http://www.indieshuffle.com/best-friends-forever-romance-conflict-adventure/feed/ 2 http://www.indieshuffle.com/junip-rope-and-summit-ep/ http://www.indieshuffle.com/junip-rope-and-summit-ep/#comments Wed, 14 Jul 2010 22:48:13 +0000 Jess Alatorre http://www.indieshuffle.com/?p=9157

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I’m trying to slow things down, and the new free EP by Junip may just be the perfect soundtrack for my life right now: there’s a tinge of sadness, but ultimately it’s cheery. While Junip may be most notable for the fact that Jose González is a member, the band has a sound that’s considerably upbeat (when compared to his solo work). This is no doubt due to the rounding contributions of Elias Araya (drums) and Tobias Winterkorn (organ, synth). Junip’s tender sounds walk the line of experimental, but the sounds never quite make it to edgy.

While there’s not necessarily any lightening up on the use of González’s voice, one will hear a greater emphasis on his hums in sync with the other instruments, perhaps alluding to a rockier side, but still heavy on the early-morning-acoustic-folk-ambiance feel. The lead single of the four-track EP by Junip, “Rope and Summit”, sounds like it could be off González’s “In Our Nature”, if “In Our Nature” had been plugged in with more instruments. The song deserves all the buzz it’s getting, as the instrumentation is catchy, the lyrics vague, and the hushed hazy vocals all too familiar. The second song, “Far Away” keeps the mood up, while things slow down a bit with “At the Doors” and “Loops.”  “At the Doors” sounds like it could be a live improvisation — I keep waiting for a band member to make an unexpected play, but in the end they just hold it all together; the bells, the scratching, the brush on the cymbals, the hums: it’s all packaged together well.

As a long time listener of José González, it’s refreshing to hear classic González with some new improvements. Indeed, this leaves much hope for the full-length Junip is set to release in mid-September. In the mean time, their EP is currently available for free on the band’s website.

myspace | myspace.com/junip]]> http://www.indieshuffle.com/junip-rope-and-summit-ep/feed/ 1 http://www.indieshuffle.com/cloud-control-bliss-release/ http://www.indieshuffle.com/cloud-control-bliss-release/#comments Sat, 26 Jun 2010 02:23:43 +0000 Jason Grishkoff http://www.indieshuffle.com/?p=8703

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Albums can take you by surprise. I’m sure you know that — after all, you’re hunting for new music, right? Well that’s what Cloud Control did for me. I think I dismissed their album on first listen. I didn’t even get through two tracks. As such I have no alternative but to believe that I must have been in the wrong setting, because this is actually a rather good album when you give it some attention. I’ve even mentioned that to a few friends, and to my surprise they’ve all gone, “Oh wow, Cloud Control has a new album?” And you might have the same reaction as I did: who the hell are Cloud Control? You mean you’ve heard of them before? Well I certainly hadn’t. For starters, they’re a pack of Aussies who debuted with an EP in 2007 — the song “Death Cloud” leading their way. Secondly, well, I’ll let the reviewer below cover the rest:

Bliss Release is an accurate way to describe the emotions evoked by repeated listening—just play “This Is What I Said,” which is prime single material, something that could easily end up on one of those Urban Outfitters digital playlists. Everything about the track, from the bouncy major key to the blissful, serotonin-laden falsetto of the chorus, to buoyant lyrics like, “Soul/is what I got/I know it’s not much.”

And yet the sneaky, insidious darkness that materializes near the end of the album cannot be denied, because it’s what makes the album far more substantial than most other folk-pop sing-a-longs. Take, for example, “Hollow Drums,” near the end of the sequence. Probably the sparest of the tunes here, it starts with finger-picked guitar and only Wright’s voice, then Lenffer’s vocals arrive and the atmosphere changes from austere to downright haunted. There’s something about the creepy ghost story imagery and the harmonized oohs, something almost imperceptibly spine-chilling.

So consider Bliss Release a wise investment: the songs are catchy and fun, but it’s the underlying sentiments—fear, foreboding, and eventual contentment—that pay off in the end. Cloud Control have done something impressive here—let’s hope they keep churning out music with this much substance. – In Your Speakers

myspace | myspace.com/cloudcontrol]]> http://www.indieshuffle.com/cloud-control-bliss-release/feed/ 1 http://www.indieshuffle.com/typhoon-hunger-and-thirst/ http://www.indieshuffle.com/typhoon-hunger-and-thirst/#comments Sun, 20 Jun 2010 01:51:53 +0000 Max Jacobs http://www.indieshuffle.com/?p=8537

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I’m not sure why it is that Portland churns out so many good indie records every year, but the city doesn’t appear to be stopping, and until then, I’ll keep listening. Portland band Typhoon is quite the hit within their hometown, though they have not yet gained significant national attention. With anywhere from 7 to 17 band members at any given time, they have earned a reputation for their live shows. Their 2^nd record, “Hunger and Thirst,” demonstrates how a band with such fluctuating instrumentation can be hard to categorize (my best shot is “slow folk with a big sound”).

The first track, “Starting Over (Bad Habits),” is a good indicator of what’s to come. Even though several instruments chime in and out, the listener is still drawn to lead singer Kyle Morton’s quivering voice and morose lyrics.

One of the best songs on the record, “Mouth of the Cave,” is less than a minute long with hardly any instrumentation. A catchy chorus of vocals, stomps and claps display the powerful sound that such a large band can have. This track blends perfectly into the next song, which is exactly opposite of the one it leaves behind. At over 7 minutes long, “Belly of the Cavern,” has too many instruments to count and changes its’ tempo throughout.

“Hunger and Thirst” is by no means a perfect album. The large ensemble-band-supporting-the-singer-songwriter format is well worn territory in the indie music world, and Typhoon is not particularly innovative in the field. Their use of all this instrumentation, however, is what makes the album dynamic in the first place, even if it’s not groundbreaking. If this record were simply Kyle Morton and a guitar, it might not hold up, but the melodic assortment of horns, pianos, and drums that swell and build throughout the tracks keeps the listener pleasantly guessing as to what the next song will hold.

More than anything, though, this record piques my curiosity about their live performances. A ten piece band would be reason enough to see a group…but a seventeen piece band? I just want to see where they will all stand.

myspace | myspace.com/wearetyphoon]]> http://www.indieshuffle.com/typhoon-hunger-and-thirst/feed/ 5 http://www.indieshuffle.com/blitzen-trapper-destroyer-of-the-void-2/ http://www.indieshuffle.com/blitzen-trapper-destroyer-of-the-void-2/#comments Fri, 18 Jun 2010 02:07:47 +0000 Max Jacobs http://www.indieshuffle.com/?p=8491

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The high energy sounds of Yes and the Grateful Dead never really shook me, but for some reason, hearing Blitzen Trapper reinvent the sounds of 70s era folk rock 40 years later makes me feel nostalgic. Blitzen Trapper invites you to swap that pair of Birkenstocks and tie-dye shirt for some vintage leather shoes and tight jeans (but keep the beard, they’re from Oregon after all). The 5^th album from the six-piece Portland band threatened to be another collection of dark folk songs mixed with raw and screeching rock tunes. Aside from the six minute rock ballad that starts things off, however, the record stays comfortably within the band’s mellow folk repertoire. This is an area that Blitzen Trapper navigates well, but overall it feels as if they have lost the edge that has defined so much of their music.

On the band’s 2008 breakout record “Furr,” the listener would start drifting to sleep at the end of a soft and melodic folk song only to be jolted awake to shrieking vocals on one of the garage rock or psychedelic tracks strewn throughout the album. What remains intact throughout the record, though, is front man Eric Earley’s gift for compelling and eerie storytelling. On “The Man Who Would Speak True,” Earley sings of a killer who shoots his lover down after he feeds his tongue on the devils rum;

They busted my mouth for to get at my tongue To see just how this had all begun So I opened my mouth like a dragon’s breath I only spoke truth, but it only brought death

Though I feel that “Destroyer of the Void” is not as strong and versatile as their last record, it’s still certainly worth a listen. It may very well be an album that grows on you as you play it late at night or when you drive through dark and desolate woods.

myspace | myspace.com/blitzentrapper]]> http://www.indieshuffle.com/blitzen-trapper-destroyer-of-the-void-2/feed/ 2 http://www.indieshuffle.com/preview-villagers-becoming-a-jackal/ http://www.indieshuffle.com/preview-villagers-becoming-a-jackal/#comments Thu, 15 Apr 2010 20:25:11 +0000 Jess Alatorre http://www.indieshuffle.com/?p=6920

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Sounds like: Coldplay, Noah and the Whale, Mumford and Sons

The music of Villagers is emotional. “The Meaning of the Ritual” is haunting in sound, yet delicate in its reaches to the soul. The vocals here remind me of Chris Martin from Coldplay. O’Brien’s lyrics turn the mundane into an experience, relatable yet distant, accessible yet nuanced. On “Twenty Seven Strangers,” I reflect on my own experience sharing spaces with strangers: the bus rides, the metros, the traffic jams. We all exist in shared places, yet so often we live those moments completely alone. Some people sing with profound honesty; Villagers is an opportunity to share in that honesty.

The debut album with record label Domino Records is out on in the US on June 8.

Elsewhere on the Web:
myspace | myspace.com/villagers

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Sounds like: Andrew Bird, Beirut, Noah and the Whale, Fanfarlo, The Books

Multitalented singer-songwriter Joe Steer is the main guy behind this music. He uses computer-generated looping to build lush arrangements with various acoustic instruments. The result? A smattering of folk, acoustic, indie musical layering. While in the past Steer played all the instruments, and then layered, this time he enlisted the help of violinist Tom Hobden of Noah and the Whale. His live shows feature a full live band, to recreate the songs he first composed.

For an album that can be a little on the reflective side, there was something strong pulling me in. The songs “I hold my breath” and “Gonna build a mountain” were that something extra. While the melodies and instruments bring you in, it’s the emotion that really stands out. During “I hold my breath” I felt like too was waiting for the answer- should he stand or runaway.

Washington D.C.’s spring has definitely sprung, and after months of being buried in snow, it’s nice to put away those salt-stained shoes and switch them out for summer sandals. This is how I feel about Broadcast 2000. While winter might make me yearn for brooding bands like Radiohead, Spring calls for a joyful hello. The full string arrangements, the glockenspiel, ukulele and the melodies make this album delightful. I’m ready for those calm warm spring days, breeze brushing through the trees, Steer’s mellow hums filling the air.

“The Outsider Steps Inside” is a knockout. It rounds out the album beautifully, leaving us wanting more. It won’t be the summer anthem, but you can hear all the instruments as they delicately play their role, the lyrics getting stuck in your head.

Elsewhere on the Web:
myspace | myspace.com/broadcast2000

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Sounds like: Bon Iver, Deer Tick, Bowerbirds, Bob Dylan

With his second album, Matsson still hangs on to the bare elements of his music while expanding its rustic sound to a more pop feel. It’s still just him and an instrument, but his voice has softened a bit to cover more romantic material, exposing his gritty, lone-ranger persona as someone with high hopes and dreams.  His earthier first album, “Shallow Grave”, made our Essential Fall albums list, but “The Wild Hunt” is the perfect warm and hopeful spring-time counterpart.

“The Wild Hunt” will be released on April 13th, 2010.

Elsewhere on the web:
myspace | myspace.com/thetallestmanonearth

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Sounds like: Guther, Rodrigo y Gabriela, Laura Viers

What’s so good?
I first bumped into Kaki King on a compilation EP (“Black Pear Tree”) that she put together with John Darnielle of The Mountain Goats. I’m not sure if I immediately ran out to get her 2008 LP, “Dreaming of Revenge”, or if I just happened to be fortuitous enough to bump into it elsewhere. Either way, its soothing undertones became a repeated fixture on my morning Metro commute. As such, it was surprising to me that with 2010′s release of “Junior”, the acoustic/instrumental songs that marked her last album have been jettisoned to the interludes; in their place are a number of eclectic tracks that range from dance-punk to indie-rock. It was the last thing I was expecting from this album, and I couldn’t be happier about it.

Frequent readers might note that I have never been one to shy away from my strong belief that for an artist’s follow-up album to be successful (to my ears, at least), they must attempt to break themselves from the norm established in their last album; they need to evolve, even if only slightly. In the past, a lot of artists have let me down (as if they owed anything to me?). Fortunately, Katherine Elizabeth King must have taken this in mind, for her new album provides the perfect balance between upbeat, jarring and soothing.

Her vocals aren’t always perfect, and the ambient lo-fi sound can sometimes remind one of the mid-nineties indie scene. But that shouldn’t fool you. Kaki King’s new album isn’t something you can just throw on in the background and zone out to. Rather, it’s a fantastic work of alternative-rock that demands full focus and attention. Fortunately she leaves a few of those interludes to allow us a chance to catch our breath in between!

Elsewhere on the web:
myspace | myspace.com/kakiking

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Sounds like: The Weepies, Band of Horses, Stars, William Fitzsimmons, Bon Iver

What’s so good?
I will declare it right now: the best folk band to have contacted me these past 2 months is without a doubt, Rosie and Me. When I’m reviewing music submissions, I always try to give the entire song a chance, even if it’s completely awful… but there are times that you can tell something is going to be amazing by just listening to the first five seconds. At second thirteen of “Come Back” I had already fallen deeply in love with Rosie and Me, and there was no coming back.

Singer, Rosanne Machado, accurately describes the group as “unpretentious and simple”. Both ‘Come Back’ and ‘Bonfires’ are acoustic wonders that sound and feel as natural as the change of the seasons and as spontaneous as Snooki from the Jersey Shore. These positive, warm melodies are almost enough to fight the cold winter this year and keep you refreshed during the summer.

Rosie and Me have been well received in the US, Germany, Canada, Poland and many other countries, save for perhaps the most surprising one, their country of origin: Brazil. In truth, after I listened to their songs, I was a bit surprised they were actually from Brazil, as you don’t typically see the American folk influence in Latin American countries. Drawing from different cultures to create a sound of their own, of course, makes their sound all the more unique.

Elsewhere on the web:
myspace | myspace.com/rosieandme

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Sounds like: Iron & Wine, Jack Johnson, Wilco, Joshua Radin

What’s so good?
I couldn’t help but smile the first time I heard Bahamas LP Pink Strat. Though it was a rainy day in San Francisco, as I listened to the dreamy tunes of Afie Jurvanen, I was transported to summer bliss. You see, Jurvanen is a Toronto musician who doesn’t let the cold Canadian winters into his songs. He’s spent the last few years playing piano and guitar with popular Canadian bands like Feist, Jason Collett, Howie Beck, and Hayden. Bahamas marks his step into a summery, solo-artist spotlight. After working with such talented musicians, it comes as no surprise that Jurvanen has the stripped, folksy sound down pat.

Bahamas lives up to its name, delivering beachy, acoustic tracks reminiscent of a Jeff Tweedy/Jack Johnson blend. Most of his lyrics chronicle love lost, but Jurvanen manages to be romantic without being sappy. Well, without being too sappy.

In “Sunshine Blues,” he croons:

Going up, you’re coming down / I’m only hoping some day you’ll turn around / Cause I’d be shining and then you’ll see / Who could love you more than me?

Oh, Afie. Your songs are honest and simple, and I simply adore them.

Elsewhere on the web:
myspace | myspace.com/bahamasbreeze
for more high-res photos and info | nevadarecords.com/bahamas.php

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Sounds like: Fanfarlo, Noah and the Whales, Blitzen Trapper

What’s so good?
I’m a wee bit behind on this one, but all good things come to those who wait. Mumford and Sons sounds like Fanfarlo meeting Blitzen Trapper. Some songs really draw on folk-inspired rock, while other songs have an old-time country influenced twang. The Mumford and Sons website says, “Since they formed in December 2007, the members of Mumford & Sons have shared a common purpose: to make music that matters, without taking themselves too seriously. Four young men from West London in their early twenties, they have fire in their bellies, romance in their hearts, and rapture in their masterful, melancholy voices.”

Indeed, the last sentence lives up to the claim: their songs are alive. I recently read a blog about why we travel and somehow this band has reminded me of that article. The science blog says that travel allows our brain to be more creative, as we open ourselves to a constant stream of surprises. Even once we go back home, and even though everything might be the same, everything is different because our framework has changed. Mumford and Sons does this for me- I feel the confusion that comes from surprise, and it leaves the possibility for newness in discovery. This might sound all too abstract, but I’m saying that while Mumford and Sons might sound like things I heard before, they also take me somewhere new, and in the process leave me wanting more of what they’re creating.

Here we’re highlighting their 2009 single, “Little Lion Man.” Now, be sure to give the full song a chance, listen for the builds, the raw bits, and the moments when you’re not sure how all these sounds fit into one continuous beautiful echoing sound. Their most recent single, “Winter Winds” is also one for the early 2010 playlists. Dust Bowl Dance attempts to go for bluesy vocals, but it misses the mark for me, and makes it one of my less favorite songs on the album. As a whole, if you’re in the mood for some old-time style folk, these guys are for you.

British indie folk rock seems to be a school of music coming from across the pond these days (it probably helps that members of Mumford and Sons literally went to school with members of Noah and the Whale.) And let’s be honest, the Brits seem to know how to make this specific sound, in ways that call for crooning Englishman vocals to get in right. Mumford and Sons: now we’re all onto you.

Elsewhere on the web:
myspace | myspace.com/mumfordandsons

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Sounds like: Holly Miranda, The Antlers, Mercury Rev

What’s so good?
Warpaint are a band whose name is being increasingly dropped around the internet, and upon my first listen through their EP, I decided that it needed to be dropped some more. So here goes: Warpaint are a Los Angeles based psychedelic/shoegaze band formed in 2007, who have notable press from the late Heath Ledger, Billy Zane, and also from John Frusciante under their belts. In fact, it is John Frusciante who produced their debut release Exquisite Corpse for Manimal Vinyl earlier this year. The connection comes through their drummer/keyboardist Josh Klinghoffer, who is known for his numberous collaborations with Frusciante, and has played as a session musician for a whole host of bands including Neon Neon, PJ Harvey and Frusciante himself. The resulting album is not a morbid affair as its title suggests, but does evoke some quite negative themes using dark, ethereal instrumentation.

The music is beautiful and most of the time very downbeat – I call it shoegaze mainly because, while the songs never melt down into a total haze, a typical Warpaint track starts off in almost complete silence, before ethereality ascends and surrounds. The music verges on ambient, and aside from the drums, the only piercing noises in the whole arrangement are the stunning vocals of Jenny Lee Lindberg, Emily Kokal, and Theresa Wayman. Time rolls along, and the tracks, which typically stand at about 5 to 6 minutes in length, feel like lo-fi summer folk songs draped in the cold of the autumn and onset of winter. The more you listen to this band the more you are drawn in, and what might seem like nothing particularly engaging, works extremely hard for your appreciation. Like many bands of this year, Warpaint are doing more with less. You can file this one next to Holly Miranda in terms of sound – and keep an eye on both artists in terms of 2010 success. Warpaint are playing dates early next year in the US with Yeasayer and Akron/Family. So if you’re lucky enough to live in Texas – paying a visit to one of these shows is a must.

Elsewhere on the web:
myspace | myspace.com/worldwartour

Sounds like:

What’s so good?
Here’s an instant hook: if you like Kings of Convenience, you’re bound to be sold on The Title Sequence. The debut single, Lovers is now available and boy does it bode well for what’s to come.  Friends since childhood, David Bailey and Nick Crofts, formerly known as the sound of bailey, have switched their name to the title sequence.  Together, these two lads are making beautiful music: Vocals harmonize perfectly and instruments are delicately played to make reflective songs full of emotion. Guitar, keyboards, vintage reel to reel tape decks and vocals all help build the cohesive sound of this new band.

(Alright, technically they’ve been together since 2007, but they’re a welcomed new addition to my musical addictions.)

I seem to have a penchant for acoustic indie folk pop music these days.  Good thing I found the title sequence to fill my needs.  To really get a sense at just how preciously artful their songwriting is, take a look at their live performances on the Crypt Sessions (link below): the title sequence are nothing short of enchanting with thoughtful songwriting.  I find their songs charming as they sit on the edge between folk, instrumental with the occasional electronica influence.

You’ll have to pardon my comparison to Kings of Convenience but as an added bonus, we have a Snap Ant remix of the single lovers.  The remix sounds like it’s taken from Kings of Convenience album versus. And in my mind, this is a very good thing.

Debut album release dates are forthcoming. Their debut single, Lovers, is set for release in early 2010.  However, for our loyal indie shuffle followers, you get to hear the single here first. This duo is one to watch!

At The Crypt Sessions, we’re always on the lookout for bands that are on the cusp of breaking through, so getting The Title Sequence in to do their thing for us was a no-brainer. The London-based duo’s reputation is growing apace and their unique brand of electro-acoustic indie-lit pop has already been championed by a couple of heavy-weight taste-makers – Radio 1’s Steve Lamacq and Huw Stephens.

The Title Sequence are childhood friends Nick Croft (keys) and David Bailey (guitar) . They usually play with an old-school reel-to-reel tape machine that provides backing beats (as well as giving the band their visual USP). Sadly, the reel-to-reel was in hospital the day we filmed them but it mattered not one jot. Nick and David’s playing is tighter than a camel’s arse in a snowstorm. Their delicate, Elliott Smith-style harmonies are also perfectly in sync, adding further colour to some of the best lyrics we’ve heard at The Crypt in a long time.

There’s nothing cooler than understated talent. The Title Sequence make their quality seem effortless. It’s enough to make any Hoxton wannabe cut off his quiff – The Crypt Sessions

Elsewhere on the web:
myspace | myspace.com/thetitlesequence
Watch The Title Sequence perform on the Crypt Sessions

click here to support the artist

Sounds like: Fleet Foxes, A Broken Robot

What’s so good?
Saintseneca is an indie folk band from the Columbus, Ohio music scene. They put out their first album at the beginning of 2009, and a new four track, the self-titled Saintseneca EP, on September 1st. They play fast paced banjo/guitar folk music with handclaps and twee vocals, with stomping singalong chorusses and simple vocal melodies to match. According to their myspace, they’ll play anywhere that ‘it echoes, and there’s a good floor to stomp on.’

They are currently on mini-tour around Ohio in support of the EP, which now available on Itunes (at full price) and on Paper Brigade, where you can name your own. Promo single God Bones is gorgeously catchy – twee folk at its finest. Furious high pitched strumming starts off the song at a high tempo, before huge percussion and violins present both a folk music anthem and a clear cut lead single from the EP. At two and a half minutes, it captures everything Saintseneca are about: tight strumming, fluid vocals, great lyrics and an endless repertoire of instruments. Saintseneca are definitely a band to keep watch on. You can stream, or buy, the full EP from Paper Brigade Digital, and hear the rest of their music at the myspace page. You can download a collection of their material from earlier this year in RAR format from OHYM.

Elsewhere on the web:
myspace | myspace.com/saintseneca
the opening acts | theopeningacts.com
love shack baby | loveshackbaby.net

Download:
Saintseneca – God Bones.mp3

Click image to download full album

Sounds like: Jose Gonzalez, Broadcast 2000, Postal Service, The Books

What’s so good?
This is a one-man attempt at electronica, and he’s nailed it. James Yuill has been on my playlist for months, but, as a sign that he’s not a one-week wonder for me, I’ve taken my time to listen, become accustomed to, and grow to love the sounds of folk and electronica melting into one. There are acoustic guitar sounds layered over computer-made synth sounds, with catchy beats and lyrics reflecting on moments of love [lost]. And you wonder why I’m sold on this artist.

James Yuill’s album has an 80s electro pop sound with a grown up GenX reflection to it. At times, the lyrics are solemn, a touch of loneliness echoing in his vocals. But rarely does the song stay mellow for too long. Almost as soon as he slows it down, there are foot-tapping beats rising again. Even though I can listen to this at any season, I think it might fit best in winter, for the days where we need music to keep us going through the darkness.

London’s James Yuill is one to watch. There’s room in the music world for his kind of tunes, and I bet that slowly but surely, the blogosphere will warm up to his catchy folktronica tunes.

Yuill’s music is right up my alley with electroacoustic digs and a distinct folk vocal tone; he presents an indelible combination of acoustic pop with heavier electronica. From his bio: Like many music lovers of his generation, James Yuill has a passion for both the emotional songwriting and atmospheres of artists such as Nick Drake, Radiohead and Sufjan Stevens and the visceral beats and dynamic rhythms of Justice, Chemical Brothers and Aphex Twin. The music is meandering and forceful at the same time, and I expect Yuill to break out from his UK stardom to greater international popularity in no time – Knox Road

Turning Down Water for Air is constructed of gently-plinking guitar, cello, laptop and sensitive-busker vocals, and the result melts in the mouth. With a rich vein of rejection as inspiration, Yuill errs on the side of bedsit neediness (“I know you want me to hurt myself” is his riposte to an ex on Somehow) that somehow never palls – probably because his words are underscored by dancefloor-ready beats. The Chemical Brothers and New Order are obvious touchstones, but on the standout No Pins Allowed, which switches from ballad to hissing digital monster, Yuill is promisingly individual – the Guardian

Elsewhere on the web:
myspace | myspace.com/jamesyuill
la-ist interview | laist.com/

download:
James Yuill – This Sweet Love.mp3

Click image to download full album

Sounds Like: The Dodos, Deer Tick, Man Man

What’s So Good?
This is punchy, sometimes soft and haunting, other times edgy and choral driven, and always beautiful. Port O’Brien’s last album, All We Could Do Was Sing, was already high on my list of 2008 albums. Their sophomore studio album is living up to my expectations. The title, Threadbare, says it all: Sometimes the songs are delicate with fragile emotions. Other times they’re punchy and full, as though trying not to fall apart.

The group, originally comprised of Cambria Goodwin and Van Pierszalowski, now boasts the musical addition of Caleb Nichols and Joshua Barnhart. Goodwin and Pierszalowski have spent time working as a baker and fisherman in Alaska, moods which ring through previous albums. Goodwin’s brother passed away shortly before album recording began, and while songs like “Threadbare” certainly have a tinge of sadness, as a whole, this album sounds of acceptance and healing.

There’s a balance here: the fragile songs are often followed by something up-tempo. “Love Me Through” is perfectly suspended somewhere between the two feelings. The album opens with “high without hope 3” and closes with “high without hope 72.” Threadbare, with all its haunting songs, has left me introspective, but hopeful that songs like these can pull us out of our darkest days, such as, “My will is good.” These days, I hope Port O’Brien is riding days high with hope. Dark will always come, but luckily it’s followed by light.

“Love me through” and “Sour Milk/ Sour Salt Water” are the true gems on Threadbare. There’s a depart from loneliness in these songs; the positive sounds are well received. Their last album, all we could do was sing, was a masterpiece of indie music. To say that this completely lives up to their previous efforts would be misleading – this album is different, softer, with sounds less focused on carefree joy, and more aimed at melancholy inner searching; a comparison seems hardly fair. To fans of early Port O’Brien there’s an obvious shift, yet, Port O’brien continues to be one to watch.

The good bits of Port O’Brien’s initial efforts are still very much intact on Threadbare, with the addictive drum rolls, quirky folksy humming and strong desire to sing along, but so much more has been added to the mix. Insightful and heartbreakingly accurate lyrics, gentle and ghost-like vocals, carefully arranged orchestral strings and an overall essence of a matured outlook on life. Its not an album you could run around the beach singing along to, but more one to appreciate around the camp-fire when the sun has gone down, when it’s just you, your friends and the unsettling realisation that life isn’t always perfect.

Maybe once upon a time all they could do was sing, but Threadbare proves that Port O’Brien are so much more than careless frolics around the sea and on the beaches – The Line of Best Fit

The band’s latest album, Threadbare, recently elbowed its way near the top of my list of best albums of 2009… If an album is very good, I procrastinate writing about it. I’m painfully aware that I’m not a professional writer, so putting pen to paper over an album I love is daunting. For the great albums, I know I’ll never do them justice so I put them off for days or weeks. I’ve had Threadbare for about five months. I’m just now writing about it – Hear Ya

elsewhere on the web:
myspace | myspace.com/portobrien
stereo subversion review| stereosubversion.com
the bay bridged review | thebaybridged.com

download:
port o’brien – sour milk, salt water.mp3

Click image to view artist in iTunes

Sounds like: Simon and Garfunkel, Jens Lenkman, Jose Gonzalez, Whitest Boy Alive

What’s so good?
Two songs immediately reminded me why we should love the delicate sounds Kings of Convenience: “Mrs. Cold” and “Boat Behind” are brilliant acoustic folk songs with just a touch of tropical whimsy. The songs that follow are less stand-out on their own, but as part of the whole, they just might work. The distinct order to these songs stands out, as listener travels from the cute guitar-picking of the standouts to slowed-down middle (“My ship isn’t pretty” is almost acapella with limited guitar strumming), barely picking back up toward the end with songs like “Peacetime Resistance,” which really rides the instrumentation.

On this album, Kings of Convenience have included a song called “riot on empty street,” the same name as that of a previous album. Yet, this new album does not have the same upbeats and surprise joyful sounds of the album, “Riot on empty street.” Rather, declaration of dependence has an overall sound of melancholic slowing down. The album highlights Kings of Convenience vocals and music, but rarely together. Each element is given a stage with each changing song, proving that the vocals can be the instrument for declaration of dependence, and other times, that we should listen to the sounds each strum can make. It takes some warming up, but eventually, these songs settle in to deliver their quietly strong songs.

Declaration of Dependence is the story of two people living two very different lives sensing that they are immensely more powerful together than apart: in that sense it is the most adult, the most mature record Kings of Convenience have ever made. that it is their most gripping, their most revealing is, if anything, just a by-product of that honesty and their endeavour – S. Box

“Music your parents like too” is how Kings of Convenience describe themselves on their MySpace profile. It’s a telling statement; self-effacing, sure, but not without a grain of truth – a tacit acknowledgement that the music Eirik Bøe and Erlend Øye make isn’t the kind to offend millions, move mountains, part oceans. No, it’s lovely, pretty, well crafted; it’s nice. And sometimes, well, that’s just plenty… Perhaps the highest compliment you can pay Kings of Convenience in 2009 is that for an act whose success stems directly from their effortlessly intuitive style, they’ve never sounded quite as effortless – or as intuitive – as they do here. Heck, your parents will probably like it too – BBC Music review

elsewhere on the web:
myspace | myspace.com/kingsofconvenience
yellow stereo review| theyellowstereo.com
end of irony review | theendofirony.net

download:
kings of convenience – boat behind.mp3

Click image to download full album

Sounds like: Pinback, DM Stith, Peter Adams

What’s so good?
While there aren’t any defining moments of glory on this album, it has a continuous and mellow flow that suits autumn in more ways than one. Stephen Steinbrink, a Phoenix, AZ native, started playing guitar in the 2000s, and after a few mishaps, wound up becoming his own musician. Today he crisscrosses the United States, selling artwork, blogging, and drawing cartoons. Oh, and of course: he plays music. Next New Sun is one of three albums released by the prolific Steinbrink in 2009.

While I haven’t had a chance to listen to much from the other two, I feel as if this album is all I really need right now. What I’m really missing from this album is the video accompaniment. According to Stephen’s website (listed below),

My new album “Next New Sun” is coming out on Gilgongo Records later this year on vinyl, however, there will be a very limited run (100 copies) of the album on a blue VHS tape, with 10 music videos, along with a MP3 Download Coupon Code in time for a US tour this fall. This VHS tape is full of music videos filmed by myself, as well as a several live videos from past.

By itself (video excluded), Next New Sun works well as background music, but I honestly don’t expect it to play more than five times before I turn my attention to something else. Reality aside, Stephen’s dreamy folk approach toys with the listener’s attention, never capturing it wholeheartedly, but perhaps coming close with the introduction of female vocals on the track “I really want to be your friend“. Steinbrink may be prolific, but I think as if he has a way to go before he can break into something bigger. That said, his prolific nature and artistic flare leave no doubt in my mind that moderate success is within his reach.

Perhaps his biggest coup was seeing his debut album, French Quarter, reviewed by Sonic Youth’s Thurston Moore and legendary music critic Byron Coley in an issue of hipster bible Arthur Magazine.

“It feels good,” Steinbrink says with a laugh. “But I’m always trying to avoid getting complacent. I’m always trying to one-up myself.”

Steinbrink’s new record, Next New Sun, does exactly that, melding the sparse folk-pop of earlier releases with spacey dynamics, MIDI string sections, and expansive percussion. All the strengths of a fantastic singer-songwriter record are present — the emotive, cryptic lyrics, the gorgeous melodies — without any of the self-indulgence that often strikes solo projects of the sort – Phoenix Music

elsewhere on the web:
stephen’s website | holysmoking.blogspot.com

download:
stephen steinbrink – my cacoon.mp3

sounds like

It’s hard to review this band’s album without talking about vernon. iIreally have to say that the single (listed above) from this album is somewhat deceiving. I was expecting to hear a similar sound throughout, but for the most part, the album remains relatively slow-paced and somewhat eerie. It’s much more in line with the familiar Bon Iver sound, only this time there’s an experimental back-up band, bringing an oh-so-welcome sound to Vernon’s package. Though I’m certain it’ll keep me entertained a while longer than Bon Iver‘s releases have, I wish they had forged a bit more of their own sound through the album, rather than falling back on vernon’s already-successful formula.

While entirely a studio record, the collection doesn’t suffer from the overburdens of a digital pile up or over-thinking. Rather it breathes and convulses in equal measure, radiating an inherent dynamism found only in the voluntary bondage of intimacy. With influences ranging from David Sylvian and Steve Reich to Mahalia Jackson and Tom Waits, it might be more accurate to say the group’s influence is music itself. You can hear it in the care and real love generously applied to each moment of ‘Unmap’. With the vibe of some intimate backwoods gospel, plus a spirit of patience and thoughtful repetition, the music of Volcano Choir is as dynamic as it is lovely. – recordstore.co.uk

Elsewhere on the web:
myspace | myspace.com
pitchfork media | pitchfork.com
stereogum | stereogum.com
brooklyn vegan | brooklynvegan.com