Okkervil River, Neko Case

This installment of New Music Tuesdays is perhaps the one I'm most excited about in this blog's three-plus year history. You see, around 2008, I had a musical re-awakening. Until that point, my interests in alternative and independent rock largely was a recirculating collection of groups from the 1990s – the heyday of alternative and grunge rock. And sure, groups like They Might Be Giants (NMT, NMT), Weezer (NMT) and Fountains of Wayne (NMT) were still delivering quality new material. But many others such as Barenaked Ladies, Moxy Fruvous, Smashing Pumpkins and many others that formed the core of my catalog had either disbanded or weren't producing the same quality of new material. That all changed when my brother made me listen to The Decemberists' The Crane Wife sometime around 2007 or 2008. Struck by songs like "Yankee Bayonet (I Will Be Home Then)," "Shankhill Butchers" and "Sons & Daughters," I was immediately compelled to explore their larger oeuvre. I was disappointed I had missed out on so much of their work that matched so well with what I love about music: wit, uniqueness and creativity – elements I found lacking in what was offered to me by mainstream music media. So, I expanded my search and came across a series of acts and artists that I should have encountered much earlier. I was saddened to find I'd essentially missed the full arch of groups like Rilo Kiley (although their recent rarities collection, RKives (NMT), offered me a one-time penance in this space) and Essex Green. But I was emboldened to find bands like The Arcade Fire (NMT), The Hold Steady (NMT) and The Gaslight Anthem (NMT, NMT, NMT) still contributing outstanding new records. And ultimately, a trio of artists formed the foundation of my contemporary understanding of music: The Decemberists (NMT, NMT), The New Pornographers (NMT) and Okkervil River (NMT). This week, new releases from the latter as well as Neko Case – a charter member of The New Pornographers – are sort of a reaffirmation of my ongoing quest for new music that I enjoy experiencing for my own gratification and also encouraging others to engage with via this blog. Therefore, on to the reviews...(note: since this post benefited from streaming previews from NPR's First Listen series, I've linked to those sources for each release given that individual track-by-track previews aren't available yet)

Okkervil River
New Release: The Silver Gymnasium
Release Date: Today (September 3, 2013)
Record Label: ATO Records
Sounds Like: The New Pornographers, The Decemberists
Location: Austin, Texas

To lay it plain, the direction of the seventh full-length release from Will Sheff's intelligently emotional sextet is like nothing you've heard before from the group. Sure, individual tracks will recall past gestures, and Sheff has delved into well-realized album concepts on numerous occasions in the past. But rarely have they come across as cohesively and consistently as on the 11 cuts found on The Silver Gymnasium. As Sheff's own voyage back to the place of his formative upbringing in the early-to-mid 1980s in Meridian, N.H., it marks a period of time that largely corresponds to the same era for your blogger. (Note: the band prepared an interesting assortment of mulit-media promotions and teasers for the record, such as an 80s-style video game, illustrated map of Meridian and song previews. You should check them out) While little of the narrative is overtly biographical, when considered in its whole, its an engaging and unique take on the growing awareness of the world during childhood, including friendship, trust, experiences and other foundational themes. The reason why the record is so distinct in the group's catalog dating back to 2002 is the fortunate avoidance of ethereal, avant-garde experimentation that Sheff used to like to scatter among more muscular, structured pieces on past records. This isn't to say there aren't slower, quieter numbers, but rather that the album's sweep is more measured in its scope. There's no pseudo electronica like "Piratess" of 2011's I Am Very Far or dull and drawling efforts like "Black Sheep Boy #4" off 2007's Black Sheep Boy – numbers you listen to once, click the unselect button on your permanent library and turn back to Sheff's still substantial output of intense lyricism matched with well-delivered indie rock instrumentation. On that latter point, you'll really notice the contributions of bassist Patrick Pestorius, who adds bounce and – dare we say – a bit of boggie to the bulk of the collection. In all, The Silver Gymnasium doesn't let you down, not even once. 

Come for: "Down Down the Deep River" (exceptionally poppy, great first single, albeit very long for a single at 6:32); Justin Sherburn delivers the sort of cheesy keyboards that defined Bruce Springsteen records in the mid-1980s, which is fitting for the time period Sheff is exploring here; the tale of paternal protection and support – a key experience of childhood – is well-explored here)
Stay for: "Where The Spirit Left Us" (sounds like most like the Okkervil River catalog, a melodic mix of "Calling and Not Calling My Ex" and "White Shadow Waltz;" Sheff's signature lyricism is on full display; the river-as-the-journey-metaphor returns again)
You'll be surprised by: "Lido Pier Suicide Car" (very nearly the one candidate for the Meh or Skip to next track selection due to the track's dreary first four minutes, but the about-face to mile-a-minute pop-rock shuffle at the 4:11 is, well, surprising) 
Solid efforts: "It Was My Season" (jaunty piano from Sherburn leads things off; provides the narrative stage-setting for the album's concept; background vocals and horns later on add to the number's punchy nature); "Pink Slips" (way back when, Okkervil River was essentially an alt-country act, this is kind of what that was like; surprisingly blue collar, like a nerdy Bob Seeger song: "show me my best memory, it's probably super-crappy"); "White" (defined by the rattling snare of drummer Cully Symington; it's always interesting when Sheff utilizes the lower register of his vocal range, which he does here in an account of changing seasons serving as a chronicle of various phases of life, growing in energy and emotion; delightfully short at 3:06); "Stay Young" (a new-wavy sound – largely provided by Pestorius' bouncy bass line and guitarist Lauren Gurgiolo's rubbery lead part – that wouldn't not have been out of place on fun.'s Some Nights (NMT)); "Walking Without Frankie" (could have also been the You'll be surprised by pick; again, Pestorius distinguishes himself here; great classic rock references with "it's a Stairway or a Slow Ride, its Rhiannon or a Landslide"); "All the Time, Every Day" (dig up "The Latest Toughs" off Black Sheep Boy and play this right after it; a fun chorus singalong); "Black Nemo" (ah, surely this will be one slow, throwaway track buried at the end of the record; hardly, it's rootsy Americana that could have been churned out recently by Dawes (NMT) or long before that, Jackson Browne; worth sticking around for and ends on a gentle note)
Meh: As I said above, "Lido Pier Suicide Car" could have ended up here, maybe you won't have the patience for the first four minutes
Skip to next track: I liked it all, a first for a full-length Okkervil River record

Neko Case
New Release: The Worse Things Get, The Harder I Fight; The Harder I Fight, The More I Love You (NPR First Listen)

Release Date: Today (September 3, 2013)
Record Label: ANTI- Records
Sounds Like: Laura Veirs (NMT), The New Pornographers
Location: Northeast Vermont

It is my view that Neko Case is simply the best vocalist in contemporary music. Little – if any – technology is ever needed to amplify or enhance the raw power of her singing. If you're familiar with The New Pornographers, you're aware of how essential that force is to driving A.C. Newman's (NMT) indie rock confections. On her solo work, Case works with a larger palate, essentially rooted in alt-country but ranging from blues to hard rock. Like Okkervil River, the record serves as her seventh full-length release, while her contributions to indie music – even beyond The New Pornographers – are substantial, ranging from her early years as the drummer for Cub (which They Might Be Giants fans will remember as the original composers of "New York City") to Camera Obscura (NMT) and Jakob Dylan (NMT), among countless others.

Come for: "Man" (everything you want from Neko Case: brash, assertive and smart; can be easy to focus on the unambiguous post-feminism while missing the driving rock foundation – her backing band is exceptional)
Stay for: "City Swans" (incredibly well-balanced; strains of Fleetwood Mac's "Go Your Own Way" inform the number's instrumental core)
You'll be surprised by: "Nearly Midnight, Honolulu" (if this one doesn't make you tear up at least a little, you probably don't have a heart; Case is so bold and headstrong through the bulk of her work that her bearing witness to parental hostility [a la "What's The Matter Here" by the 10,000 Maniacs] is not exactly jarring, but certainly distinctive)
Solid efforts: "Wild Creatures" (a somewhat abrupt way to begin the record, but after settling in is reflective of the bulk of Case's solo material); "Night Still Comes" (in the hands of another performer, this might be a tad lethargic, but Case's vocal talents keep it afloat; "I revenge myself allover myself" is one of the album's signature lines); "I'm From Nowhere" (a rusty combination of blues and western, Case's own nod to the 80's pairs well with Sheff's work above; I love whenever Case uses the word "kid" in any song ever, including this one); "Bracing for Sunday" (hints of rockabilly, a black comedy tale of a "Friday night girl bracing for Sunday to come;" jagged saxophones are reminiscent of old-school They Might Be Giants; don't miss "I only ever held one love, her name was Mary Anne / she died while having a child by her brother, he died because I murdered him"); "Afraid" (I would have loved this as a round, since it's a neat looping melody with great layered harmonies); "Local Girl" (would have been the most likely to appear on a New Pornographers release, although likely without the gospel choir background vocals); "Ragtime" (somewhat of a slow chugger at first, but the imagery is evocative and the chorus is pleasingly full of horns, reminiscent of The Decemberists "Valerie Plame")
Meh: "Calling Cards" (it's fine, but doesn't have the same degree of creativity or urgency that defines the rest of the album)    
Skip to next track: "Where Did I Leave That Fire" (begins with nearly a minute of avant garde filler, and then never really gets going from there)

Laura Veirs, Harper's Fellow

Laura Veirs
New Release: Warp & Weft
Release Date: August 20, 2013
Record Label: Raven Marching Band
Sounds Like: Neko Case (NMT), The Decemberists (NMT) Valery Gore (NMT)
Location: Portland, Ore.

If you follow the kinds of bands and artists we profile routinely here, you're likely already familiar with Laura Veirs, even though I don't feature a ton of solo singer-songwriters in this space (something I'll admit as a weakness in my preferences that may cause me to miss some fantastic stuff, but one that's unlikely to change; please feel free to convince me otherwise in the comments section). In addition to her comprehensive catalog dating back to 1999 and frequent opening or co-heading slots with the sort of acts we favor, she's twice appeared on records with The Decemberists, most recently on "Dear Avery" off 2011's The King Is Dead (NMT) and most notably the outstanding duet with Colin Meloy on "Yankee Bayonet (I Will Be Home Then)" from The Crane Wife (2006). On her ninth full-length release, she focuses on the recurring theme of parental fears of loss and harm – a topic no less foundational to the human experience than the more oft-explored notions of pleasing your father or the journey to/from and battle for/against your homeland/town. Veirs' take here – informed by her own two children – initially seems dark and surreal but is frequently tempered by moments of brightness and hope. Additionally, reflecting Veirs' well-cultivated stature in the indie music scene, there's no shortage of outstanding guest contributors, ranging from her husband and producer Tucker Martine, voice of thunder Neko Case (stay tuned in coming weeks for coverage of her upcoming The Worse Things Get, the Harder I Fight; The Harder I Fight, the More I Love You), My Morning Jacket frontman Jim James and Decemberists' bassist Nate Query, among others. 

Come for: "Sun Song" (easygoing leadoff single strikes a positive tone for the larger theme from the outset: "As all the other mothers would remember / Stalked by winter solace in a small, warm hand / We got the sun, the sun to thank;" Case's vocals in the bridge are unavoidable)
Stay for: "That Alice" (easily the 12-track collection's most rocking number; an homage to John Coltrane's wife, Alice)
You'll be surprised by: "Sadako Folding Cranes" (intricate, as suggested by the imagery of the origami created by Hiroshima victim Sadako Sasaki; Veirs is at her best as a storyteller here; James' backing vocals are intriguing without becoming distracting)
Solid efforts: "Finster Saw the Angels" (sparse, but enchanting; simple, repeated melody is the song's enjoyably unforced core); "Dorothy of the Island" (a close runner-up for the Stay for selection; the most direct exploration of the parental loss theme); "Shape Shifter" (the foreboding tale of the looming winter is softened by the protagonist's resolve to stick together; strings in the center of the piece are a warming influence); "Say Darlin' Say" (sludgy, with a ruggedly frontier-settler vibe; "I got my shoes from a railroad man and the dress from a driver in the night" is some of the record's most evocative narrative, bookended by the train locomotive bell and whistle at its closing); "Ten Bridges" (folksy; beautifully illustrative of the album's central conflict between fear and delight); "White Cherry" (jazzy and ethereal, another nod to Alice Coltrane?; lines like "I take pleasure in the wind chimes" are augmented by actual wind chimes)
Meh: "Ghosts of Louisville" (I like the eerie harmonies, but I'm not really sure of their purpose in only a 30 second track); "Ikaria" (this instrumental has more meat on its bones than "Ghosts of Louisville," but I'm still missing how it complements the other material)
Skip to next track: "America" (I had high hopes for some good old fashioned protest music out of Veirs, but her criticisms of an America run amok don't include a cause or a solution, so it comes off just as a list of unspecified gripes; I was hoping for more)

Harper's Fellow
New Release: Thanks for Tonight
Release Date: July 27, 2013
Record Label: self-released
Sounds Like: Kate Voegele, Brandi Carlile, The Little Willies (NMT), Seryn (NMT)
Location: Asbury Park, N.J.

(Full disclosure: I've known the band's guitarist, Eric Castellazzo, since babysitting for him when we were both much younger)

In the beginning, there were essentially two forms of American contemporary music: the blues and country. While offshoots and derivatives branched off in all directions – ranging from jazz to rock-and-roll, and much more – the core of American music, popular or otherwise, owes its existence to these two genres. Out of the legendary New Jersey musical breeding ground of Asbury Park, the five-piece Harper's Fellow are solidly rooted in both country and the blues, yielding a hardscrabble mix of rustic Americana and rootsy twang throughout their debut, full-length release, Thanks for Tonight. Frontperson Cortney Metzler trades on the same sort of genre-bending, countrified blues vocals employed by folks like Kate Voegele and Brandi Carlile with the added benefit of a sturdy blues-rock ensemble comprised of Castellazo, bassist Brendan Smith, drummer Alex Ford and background vocalist Yanell Reyes. Elements of alt-country, folk, Americana and old-time country interchange freely across the record's 10 tracks, paired with healthy access to catchy hooks and choruses. I wish there were a few more uptempo numbers (the tisk-tisk of my ideal 3-2-1 ratio is scattered across past posts in this space, so the quintet need not feel singled out) as well as a few more instrumental flourishes like an occasional fiddle, organ or harmonica would have nice, but their absence is an understandable given for a new group producing a crowdfunded debut. 

Come for: "Three Paint Brushes" (brisk and lively, a catchy tale spun from weightier topics: identity and inheritance)
Stay for: "Bow & Arrow" (spunky with jangly guitars and the album's best singalong chorus)
You'll be surprised by: "Fool" (don't let the uptempo acoustic number's jovial pace fool you (pun intended); its a larger message of learning from mistakes and accepting limitations; see Ed Robertson's (of the Barenaked Ladies) "Leave" from 1998's Stunt for instrumental and thematic reference)
Solid efforts: "Amber Fallout" (the record's opener eases the listener into the group's sound, punctuated by the steady rhythm section of Smith and Ford, in particular); "Whiskey" (Castellazo's distorted electric guitar is the track's signature, and the bluesiest work on the collection); "Freedom" (the number's opening acoustic chords bear all the signatures of a classic country ballad); "Cadillac" (rockabilly-infused; has an enjoyable swagger); "Finer Words" (the piano adds color to another relatively slow song; its unvarnished nature is its strongest attribute); "Smoking Gun" (I like the more western influences here, a welcome compliment when most of the previous country flavor had been more southern-inspired)
Meh: "Sleepy City" (I know the title should be a clue, but I think "Freedom" satisfied my country ballad needs earlier; still, hardly a bad effort; it's well-performed)  

The Polyphonic Spree, The Family Crest

After taking a healthy summer break, we're back at it with two mega collective groups that seem destined to appear in a review together...

The Polyphonic Spree
New Release: Yes, It's True
Release Date: August 6, 2013
Record Label: Good Records
Sounds Like: The New Pornographers (NMT), The Arcade Fire (NMT) Rah Rah (NMT), Telekinesis (NMT, NMT)
Location: Dallas, Texas

In terms of mass collective indie rock groups – you know, the kind with no fewer than 5 or 6 members, usually including both men and women, who play an assortment of instruments, usually including horns and strings –  The Polyphonic Spree is often considered the format's archetype. Formed by former Tripping Daisy frontman Ken DeLaughter after the passing of the group's guitarist Wes Berggen, the sprawling unit – whose current members contribute anything from harp to french horn – was always intended to be an experiment in symphonic pop rock. And while regular readers of this blog would expect this to be the sort of act that would appear routinely in posts, their most recent full-length record – The Fragile Army – was released back in 2007, well before the dawn of this space. Nonetheless, since the release of their debut album – 2002's The Beginning Stages of...The Polyphonic Spree – through last week's long-awaited Yes, It's True, the band has served as the vanguard for large-format groups with sweeping orchestrations, unusual instruments and lots of participants. While the new work's scope may be more constrained than previous efforts – really, a skeleton crew of only 20 are listed as current members – its focus is more deliberate and allows DeLaughter's poppier instincts to emerge at the forefront.

Come for: "You Don't Know Me" (delightfully hyper-hooky; no conspiracy paranoia the title might suggest; more a call to arms against prejudice and divisiveness: "there's always more to you than there are of them")
Stay for: "What Would You Do?" (remember that sludgy, but poppy sound that Telekinesis has perfected? This is very similar)
You'll be surprised by: "You're Golden" (the simplicity of the introductory piano is a pleasant contrast to the bombast elsewhere; like the rattling snare in the chorus and the (faux?) harpsichord highlights in the verses; contains DeLaughter's best take on contemporary social networking: "it's not the car that you drive, it's not your phone with an 'i'; it's not your Facebook likes, it's not your Instagram pride")
Solid efforts: "Popular By Design" (a little synth-heavy, and songs like these are when I'm not so wild about DeLaughter's voice – a little measly at times, but otherwise, its a fine, catchy track); "Carefully Try" (a nice change of pace from the spirited romps of the first three tracks; numerous instances of artful instrumentation, a la Brian Wilson's Pet Sounds; the first few chords of the chorus are reminiscent of The Killers' smash, "Mr. Brightside"); "Heart Talk" (could range in influence anywhere from David Bowie to The Talking Heads to They Might Be Giants (NMT, NMT), the latter what with all the comical-sounding saxophone); "Blurry Up the Lines" (a bit of a slow starter, but it rounds out into something much more expansive); "Let Them Be" (intrigued by the rumbling drums and odd water glass percussion, then the harsh bluesly horns; could have otherwise been too moody, but its much more than the sum of its parts); "Raise Your Hand" (the long snare intro belies the synth focus that's the heart of the song;
Meh: "Hold Yourself Up" (has beefy hooks, but is a bit threadbare at other points)
Skip to next track: "Battlefield" (it's appropriately named, because it's a lawn, brooding battle to get through...)

The Family Crest
New Release: The Headwinds (EP)
Release Date: July 30, 2013
Record Label: Tender Loving Empire Records
Sounds Like: Hey Marseilles (NMT), Hey Rosetta! (NMT), Of Monsters & Men (NMT), The Polyphonic Spree, The Arcade Fire (NMT), hints of The Moody Blues and DeVotchKa (NMT)
Location: San Francisco, Calif.

You know The Polyphonic Spree and Broken Social Scene and The Arcade Fire and The New Pornographers, Hey Marseilles and Camera Obscura (NMT) and The Decemberists (NMT, NMT) and Los Campesinos! (NMT). But do you recall the largest, most expansive musical collective of them all?

Yes, it sounds ridiculous in a post reviewing new material from The Polyphonic Spree to find an even bigger band. But here they are in the form of the San Francisco-based company, The Family Crest and their new six-track EP, The Headwinds. While certainly not as established as their counterparts from Dallas, the group – which features six "core" members and an "extended family" list of what seems to be more than a hundred others who can contribute parts remotely – delivers epic-scale, lushly orchestrated compositions that are a little less reliant on synth than Ken DeLaughter's group and perhaps benefits from a bit more folksy foundations. In between their 2012 full-length debut The Village and their forthcoming follow-up – reportedly to be titled Beneath the Brine – The Headwinds EP keeps their growing audience satiated until next year while delivering far more than just odds and ends – its a fully-realized, dynamic and interesting collection of new material. Heck, at more than 23 minutes, its longer than some punk albums and includes two plus-5-minute selections.

Come for: "Love Don't Go" (grandiose first single with a fine balance of pop hooks and nuanced instrumentation, chock full of horns and strings interspersed with frontman and guitarist Liam McCormick's earthy verses)
Stay for: "The River" (the band wisely displays its impressive largess from the outset on this opening track; its signature vocal chorus unit flexes its muscle while McCormick's narrative is highlighted with artful strings and piano in its quieter moments)
You'll be surprised by: "Marry Me" (after a misleadingly ominous intro, it becomes exuberant and infectious in perfectly matches the celebratory nature of McCormick's lyrics; be on the lookout for the same sort of gypsy minstrel flair as exhibited in groups like DeVotchKa and Gogol Bordello)
Solid efforts: "The Headwinds" (very much aligned with the recent efforts from Of Monsters & Men, akin to that group's "Dirty Paws" or "King and Lionheart"; the record's most sturdy number); "Brittle Bones" (dig into your Decemberists collection for "The Sporting Life," you might find the rhythm strikingly similar here; the only part of McCormick's singing that gets stuck in my craw a bit is evident here, a sliver of a lisp where an "h" is added to words that end in "s," like "bones[h]" or "shoes[h]" – its not fatal, but is certainly noticeable)

Special Report: NMT's Top Road Anthems

We're fast approaching the dog days of summer: time for not only baseball, cookouts and pool parties, but one of the classic summertime traditions – the road trip. As for myself, I'll be driving around the great state of Minnesota this week for my regular gig, so this seemed like the perfect opportunity to present a list I've had in mind to post here for quite a while: my favorite songs to compliment a road trip. While it would be easy to pick a couple Jackson Brown and Eagles classics, here are my top 15 in ascending order, prioritizing – when possible – bands and artists featured in this blog:

15) "Coeur d'Alene" – The Head & The Heart (NMT) – The Head & The Heart (2011)

Not specifically a road song per se, but the track's rolling piano and spunky rhythm adds depth to a good roadtrip playlist.

"Oh, the songs people will sing for home 

and for the ones that have been gone for too long..."

14) "On Her Own" – Ben Kweller (NMT) – Changing Horses (2009)

Again, not about driving or the open road, but Kweller's fictional narrative of "good 'ol Alexandria" who's life was torn asunder by Hurricane Katrina is among the best work of his solid catalog, and is a textbook example of the heartland rock style that produces the best music to accompany long drives.

"Always been a rambler, moving her whole life / 

Daddy was a gambler with a heavyhearted wife / 

The twilight wind blows her face and that Bronco's engine moans / 

She is gonna make it on her own..."

13) "Stuck Between Stations" – The Hold Steady (NMT) – Boys & Girls in America (2006)

So, surely this one will be about a highway or something, right? Well, not yet, but I defy you to not be pulled to adventure from the opening guitar riff to the hard-charging tune's accounts of summertime mischief. Plus former pianist/keyboardist Franz Nicolay delivers his most vital performance during his tenure with the band on this one, and a great piano or organ part can make a road anthem transcendent, as is the case here.

"Crushing one another with colossal expectations; dependent, undisciplined, sleeping late.."

12) "Down in the Valley" – The Broken West – I Can't Go On, I'll Go On (2007) 

The most alt-rock flavored selection on this list, something about the jangly guitars and hazy vocals from Ross Flournoy – before the four-piece outfit became known as Apex Manor – offers some welcome indie rock texture to a collection dominated by heartland rock.

"Sun down, blood horizon; now it feels alright / 

No one feels the darkness down in the valley tonight"

11) "The Country Life" – Crash Test Dummies – The Ghosts That Haunt Me (1991)

Folks, this blog would likely not exist were it not for my introduction to the Crash Test Dummies in the early 1990s. They were the first act I "discovered" on my own and led me to research (pre-Internet!) bands that influenced them, like XTC and The Replacements, and I'm forever grateful. While I really need to hash out my history with the group that most causal music observers know as a one-hit wonder – whose one hit contained a vowel-less chorus – the purpose of this post is road songs, and "Country Life" off their fantastic, alt-country-before-alt-country-was-a-thing debut, The Ghosts That Haunt Me, adds some needed, non-hokey country spark to a good travel compilation.

"So let's pack our bags up together, and we'll be in the clear forever..."

10) "Somewhere Down the Road" – Farewell Drifters (NMT, NMT) – Yellow Tag Mondays (2010)

Since we've already arrived at the country-flavored portion of this list, let's not drift too far afield, as the bluegrassy Farewell Drifters always deliver the sort of tight harmonies, honey-laced fiddles and nimble pickin' that provide a sunny, nostalgic character during treks across farms and fields.

"One day soon, I know the road will take us where we want to go /

 And everything you see will be along with me, 

somewhere down the road..."

9) "Drive" – The Gaslight Anthem (NMT, NMT, NMT) – Sink Or Swim (2007)

Abruptly shifting gears, the Springsteen-via-The-Clash power punk quartet aren't necessarily exploring wide open spaces on "Drive," but rather getting the boys back home after hitting the central Jersey bars. Still, sometimes on a multi-hour drive, you need a good jolt of pick-me-up; this will do it.

"And the only thing we know is it's getting dark and we better go / 

And the only thing we say are the despairs of the day"

8) "Down By the Water" – The Decemberists (NMT, NMT) – The King Is Dead (2011)

After serving as the most literate band in indie rock for the better part of a decade, Colin Meloy and the gang decided to shift to a more accessible brand of Americana for The King Is Dead. Turns out it was their best-selling record ever, and the leadoff single, "Down By the Water" exposed the Portland quintet to an expanded audience through its roots rock revival format. Guest contributions by now-former R.E.M. (NMT) guitarist Peter Buck (damn, isn't it a little sad to write that) and knockout supporting vocals from Gillian Welch embolden what is already a pretty catchy number from Meloy and company. 

"The season rubs me wrong, the summer swells anon / 

So knock me down, tear me up / 

But I would bear it all broken just to fill my cup / 

Down by the water and down by the old main drag"

7) "Thank You, Ringo Star" – Johnny Vegas – Super Cool American (1997)

This is such a hipster lede, but you probably haven't heard of Johnny Vegas (the band, not the comedian). That's probably for good season, since the Syracuse, N.Y.-quartet hasn't done much since 1999. And that's a shame, because the tandem of frontman Keith Calveric and guitarist Mike Shimshack wrote some very hooky, alt-rock-pop in the Gin Blossoms vein that never really found an audience outside upstate New York. Although the first verse of "Thank You, Ringo Star" is actually about a train – I know, way more awesome – the travel theme is recurrent throughout the 2:52 piano-rock confection.

"All packed up and ready to go; 

cigarette money and enough for the tolls..."

6) "Rain King" – Counting Crows – August and Everything After (1993)

Any search terms for "heartland rock" should immediately return this barnstorming classic from when the Crows were the Bay Area's favorite faux-midwestern rock band. The combination of crisp acoustic guitars, clean Fender riffs and keyboardist Charlie Gillingham's brilliant Hammond organ park is the definition of the sub-genre. A listen to this and "Omaha" off the band's excellent debut makes you remember why the group was so well-received, even during the heart of the 90s grunge movement. 

"Oh, it seems night endlessly begins and ends / 

After all the dreaming I come home again..."

5) "Let's Get Out of This Country" – Camera Obscura (NMT) – Let's Get Out of This Country (2006)

You perhaps read my thoughts last week on this Scottish act's uneven recent release, but the title track from their 2006 record is the group's high water mark. The rush of strings, organs and playful guitars propel frontwoman Tracyanne Campbell's tale of eloping into a more vast exercise in love and exploration.

"Let's hit the road, dear friend of mine / 

Wave goodbye to our thankless jobs / 

We'll drive for miles, maybe never turn off..."

4) "Electric Music" – Band of Horses (NMT) – Mirage Rock (2012)

Last year, Band of Horses released the album of their career, and "Electric Music" is the best thing on it. It seems like this song has been laying in wait since Jackson Browne's 1977 signature "Running On Empty," hoping for some plucky band to find it.
 

"Listen to the motor getting louder as we go / 

One way or another, gonna make it back home..."

3) "Across The Bridge" – Great Lakes Myth Society – Great Lakes Myth Society (2005)

The most lyrically complex and mysterious of any number on this list, this piece of "northern rock" – as defined by the Michigan-based quintet – includes all the trappings of great heartland rock road songs: mandolins, fiddles, organ and – most crucial – a hearty sing-along chorus led by frontman Timothy Monger (NMT).

"'Neath the radial of stars / And every band of idle cars / 

In the distance, old St. Ignace..."

2) "Keep the Car Running" – The Arcade Fire (NMT) – Neon Bible (2007)

It's hard to say the critically-acclaimed and chart-topping indie rock supergroup from Montreal has a single defining anthem – it is, after all, what they do. But this one might be the most accessible to the masses, so much so that co-leaders Win Butler and Regine Chassagne once performed it backed by Springsteen and the E Street Band and has been covered by the Foo Fighters. Although the protagonist's paranoia is a bit disconcerting if read too closely...

"Every night my dream’s the same / 

Same old city with a different name / 

Men are coming to take me away /  

I don’t know why but I know I can’t stay"

1) "Seeds" – Hey Rosetta! (NMT) – Seeds (2011)

From the welcoming, inviting mandolin that opens the title track from this St. John's, Newfoundland chamber-rock act, the number does everything that a great road song should do: translate the literal act of travel into a metaphor of self-discovery and enlightenment with vigor and enthusiasm. 

"The road bends long, like mother's arms / 

Reaching for these four black tires..."

P.S. – hopefully some of you spotted that the road in the photo at the top was a railroad. It was in northern Florida, south of Atmore, Ala.

Super Review: Sleeping At Last, The Lighthouse & The Whaler, Camera Obscura, Lemuria

Sleeping At Last
New Release: Atlas: Light (also, Atlas: Darkness)
Release Date: June 10, 2013 (January 29, 2013)
Record Label: self-released
Sounds Like: Her Space Holiday (NMT); Hey Rosetta! (NMT)
Location: Wheaton, Ill.

To follow up last week's review of a Stephin Merritt project with a similarly prolific and adventurous artist seems altogether appropriate. While Merritt's material can range from range from brooding and antagonistic to electronic experimentation, the volumes of work supplied by Sleeping At Last's Ryan O'Neal trends more towards uplifting and organic, if a tad too ethereal at times. Like Merritt, O'Neal culls his output into less conventional formats, including short EPs and multi-volume collections. Light and Darkness are part of O'Neal's Atlas series of six-track EPs, which will ultimately include a total of six records released every few months, and are "inspired by the origins, emergence and experiences of life," according to O'Neal. The series the natural successor to his Yearbook collection from 2010 and 2011, which yielded a new three-song EP tailored for each month of the year.

Although O'Neil tends to organize his releases in a fashion similar to Merritt, his musical style is more akin to Her Space Holiday's Marc Bianchi, with intricate orchestral arrangements spanning a wealth of genres from folk to progressive rock. Meanwhile, his vocal phrasing is more reminiscent of Hey Rosetta's Tim Baker or Mike Viola of The Candy Butchers: a high, sweeping tenor range that often begins gentle and a touch fragile at first, but can build and swirl when called upon in service to epics and anthems. 

This review will include not only the most recent volume of the Atlas series, Light, but its debut offering from January, Darkness, which O'Neal intended to be considered as two sides of a vinyl record. This intention is borne out by the contrast between "Uneven Odds" off Darkness and the title track off Light, which tells the story of the same character, the former from the viewpoint of a guardian of a child whose parents had recently passed, and the latter reflecting the thoughts of that same child – now as an adult – on the birth of a child of their own, the lyrics to which could be an eye-watering credo for any new parent as the instrumentation swells with resolve and hope:

"May these words be the first to find your ears:

All is bright and in the sun now that you're here;

Though your eyes will need some time to adjust 

to the overwhelming light surrounding us; 

I'll give you everything I have, I'll teach you everything I know,

I promise I'll do better...

I will always hold you close but I will learn to let you go,

I promise I'll do better...

I will soften every edge, I'll hold the world to its best,

and I'll do better...

With every heartbeat I have left I will defend your every breath

and I'll do better...

Cause you are loved, you are loved, more than you know,

I hereby pledge all of my days to prove its so,

though your heart is far too young to realize the unimaginable light you hold inside..."

There's little impression O'Neal is just simply aiming for a tearjerker here. I feel the same about the equally sentimental but just as sincere "We're So Far Away" by Mae. I dare you not to be convicted.

Come for: "Light" (see above)
Stay for: "You Are Enough" (light and intricate)
You'll be surprised by: "Heirloom" (surprisingly folksy, with acoustic guitars and fiddles; continues the motivational tale from father to son begin in "Light"
Solid efforts: "The Projectionist" (I think the first line, "When I was young, I fell in love with stories" is enough to make the whole track worthwhile); "Overture" (gentle at first, but picks up in intensity, mostly via a simple mandolin part); "I'll Keep You Safe" (very lush, illustrative lyricism); "Uneven Odds" (tune in for the set-up of "Light," despite its morose subject matter)
Meh: "In the Embers" (slow and somber); "Woodwork" (this is what I meant by a touch too ethereal, and its just a little repetitive); "Bad Blood" (nothing wrong per se, but I guess a collection entitled Darkness will have more slow, restrained numbers than not)
Skip to next track: nothing too objectionable

The Lighthouse & The Whaler
New Release: This Is an Adventure
Release Date: September 18, 2012
Record Label: self-released
Sounds Like: Ra Ra Riot (NMT), Hey Marseilles (NMT), Vampire Weekend
Location: Cleveland, Ohio

Don't worry, everybody – I've found it! Found what, you ask. Well, only the record that Ra Ra Riot should have released as its fourth album instead of the electronic schlock of Beta Love. Strangely enough, it turns out it comes via the Seattle indie folk-rock quartet The Lighthouse & The Whaler's sophomore release, This Is an Adventure, which came out last September but which I was only recently made aware of. There's the same faux-Sting vocals from frontman Michael LoPresti that made Ra Ra Riot's Wes Miles stand out, and the same mix of Vampire Weekend-style Afropop and synth-rock and strings-forward, baroque-pop that defines groups like Hey Marseilles and Rah Rah (NMT). 

Come for: "Pioneers" (good blend of their previous folk-oriented catalog with their new, more rubbery sound; catchy hook)
Stay for: "Chromatic" (although its nearly a knock-off of Ra Ra Riot's "Too Dramatic," that was a great tune these should have no shame in trying to rip-off; combination of glockenspiel, strings and keys add even greater buoyancy to slinky guitars and bouncy bass)
You'll be surprised by: "This Is an Adventure" (could be a breakout hit for the band)
Solid efforts: "Venice" (not too heavy; compliment to leisure travel); "The Adriatic" (strings take center stage here; intriguing chorus); "Burst Apart" (if you've listened to any of the group's previous material, you'd never suspect they'd turn out something as loose and floaty as this); "Iron Doors" (kind of heavy as the title suggests, but not a bad choice to slow things down by a step on an otherwise pretty peppy production); "We've Got the Most" (once again, could double as a Ra Ra Riot number; I still have no problem with it); "Untitled" (love guitarist Mark Poro's figures here) 
Meh: "Little Vessels" (never seems to catch the current it needs to get going properly, but otherwise its okay)
Skip to next track: it's all aiight

Camera Obscura
New Release: Desire Lines
Release Date: June 11, 2013
Record Label: 4AD
Sounds Like: 10,000 Maniacs, A.C. Newman (NMT), She & Him, Of Monsters & Men (NMT)
Location: Glasgow, Scotland

Just a few seconds of interaction with "Do It Again" – the leadoff single from the Scottish sextet's fifth full-length release – should tell you all you need to know about the group's power and potential. Unfortunately, much of that talent is well, obscured here with mid-paced numbers that are pleasant enough, but don't churn along with the same sort of urgency and vigor as demonstrated on just a few tracks here, or elsewhere through their past portfolio. I know I harp on my 3-2-1 ratio over and over, but this record is truly the case study in why uptempo numbers need to be the bulk of any collection, followed by lesser numbers of mid-paced and slower selections. This is really a shame since I've routinely cited Camera Obscura as possessing much of the template for what I consider to be the ingredients for good music: many performers of both genders – often Canadian or Scottish – playing all sorts of instruments with the ability to span multiple genres and possessing the knack for catchy tunes. I just wish we'd heard more of it on Desire Lines.

Come for: "Do It Again" (nearly as good and hooky as their all-time best, 2006's "Let's Get Out of This Country;" lead vocalist Tracyanne Campbell demonstrates why she's one of the best in the business when she's on her game)
Stay for: "Break it to You Gently" (good energy and sturdy drumming from Lee Thompson)
You'll be surprised by: "This Is Love (Feels Alright)" (the slow-paced stuff starts early, but this one's early enough that it's still interesting; some good strings and horns matched with multi-instrumentalist Carey Lander's organ balances out the bluesy rhythm section of Thompson and bassist Gavin Dunbar)
Solid efforts: "Troublemaker" (its just a small step off from being very catchy; sort of an 80s college rock vibe); "New Year's Resolution" (another good latent melody, but could use a jolt of power behind it; otherwise too hazy); "Every Weekday" (fun, tropical-flavored riff from guitarist Kenny McKeeve along with Lander's hovering organ salvages this one); "I Missed Your Party" (lighthearted; horns are a welcome addition; more nimble guitar work from McKeeve)
Meh: "William's Heart" (a lulling waltz that comes close to yawn-invoking; once more, McKeeve is able to add some worthwhile contributions); "Fifth in Line To The Throne" (again, I don't mind Thompson and Dunbar's blues foundation – and if this were the 1 in my 3-2-1 ratio, it could fit as a You'll Be Surprised By pick – but, alas, it's just another slow song here); "Desire Lines" (as a traditional closing track it's no problem, but good luck finding the appetite for more slow stuff if you make it this far)
Skip to next track: "Intro" (only 30 seconds, and this isn't really a concept record, so what's the need of a prelude?); "Cri Du Coeur" (might find its higher purpose as a sedative)

Lemuria
New Release: The Distance Is So Big
Release Date: June 18, 2013
Record Label: Bridge 9 Records
Sounds Like: The Tins (NMT), Rah Rah (NMT), Slater-Kinney
Location: Buffalo, N.Y.

If you heard Buffalo, N.Y.'s The Tins when we profiled them last year, the quirky, time signature-defying work of their fellow Nickel City-based trio should serve as a good follow-up. Guitarist Sheena Ozzella and drummer Alex Kerns share lead vocals, while the pair along with bassist Max Gregor churn through a variety of progressive and slightly odd takes on the traditional rock format, much like Primus did to a larger scale through the 1990s, albeit here with less spiffy studio production, which at times is a little distracting. (Listen to the full record via NPR's First Listen)

Come for: "Brilliant Dancer" (good bouncy hook; Ozzella's vocals are flighty like if Taylor Swift found her way to prog-rock; note the first example of shifting time signatures around the 1:55 mark)
Stay for: "Clay Baby" (Kerns is a few notches shy of Ozzellla's vocal talents – he can occasionally sound like a low-register John Linnell – but the melody vaguely reflects Modern English's "I Melt With You," which is fun)
You'll be surprised by: "Scienceless" (thick and meaty riffs)
Solid efforts: "Dream Eater" (hard-charging, neat rolling bass line from Gregor; hooky chorus); "Chihuly" (titled for the famous glass artists, the trade-offs and interplay between Ozzella and Kerns brings a good deal of fun as we hear about an "amateur astronomer" and the "butterscotch shattering Chihuly"); "Bluffing Statistics" (I'm not wild about the disjointed percussion here, but the song concept is interesting nonetheless); "Public Opinion Bath" ("one minute you're stuck between two proud parents and a studio audience" from Kerns might be the most interesting lyric on the baker's dozen tracks; satisfyingly short at 2:12); "Congratulations Sex" (not quite Rilo Kiley's "Potions for Foxes," but still pretty humorously lurid); "Ruby" (packs plenty of punch for a closing number; Ozzella's vocals sound like a slight nod to The Cranberries' Delores O'Riordan)
Meh: "Paint the Youth" (the rhythm seems a bit clunky and out of synch; do like the trippy organ, though); "Oahu, Hawaii" (another hint of a famous melody, this time via Queen's "Radio Ga Ga," but the rest of the track is a bit sparse); "Survivors' Guilt" (a little too slow and dark for their sound profile)
Skip to next track: "Michael and Stephan Moon" (much like Camera Obscura's "Intro," it serves little purpose)

Future Bible Heroes

This week our guest correspondent Eileen Can reviews the new Future Bible Heroes album, Partygoing, out June 4 on Merge Records. Future Bible Heroes will play DC July 26 at the Black Cat.

Future Bible Heroes

New Release: Partygoing

Release Date: June 4, 2013

Record Label: Merge Records

Sounds Like: The Magnetic Fields, The Flaming Lips, Pet Shop Boys

Location: San Francisco, Calif. 

Followers of songwriter Stephin Merritt know his projects The 6THs, the soundtrack he composed for Lemony Snicket’s A Series of Unfortunate Events, and most notably The Magnetic Fields (NMT). Future Bible Heroes is the experimental arm of his expanding musical empire, and the one in which Merritt and bandmates Christopher Ewen and Claudia Gonson exercise their intergalactic disco fantasies – a successful endeavor if you are listening in your basement, but save your nickels for the four-CD boxset from Merge before you think about stalking their tour bus from coast to coast.

The best and worst part about seeing one of Merritt’s bands live is that there is no pretense – the ensemble typically comes across as unrehearsed and unaware that a hundred or more fans spent money, cleared their calendars, and are now standing (or sitting) in an auditorium, eager to see for themselves the magnificent musicians who produced clever tunes such as "The Lonely Robot." What you find instead is a clan of tired, sassy travelers, and Claudia Gonson hitching up her pants and spouting off about Calvin Trillin books. Merritt is without exception an irritable performer, and his chronic hyperacusis makes him no fun on stage. Future Bible Heroes (FBH) will be touring without Merritt this summer, and the jury is still out as to whether this will enhance the group’s reputation.

If you can’t enjoy a band live, the next best thing is to have them gift you with an album that serves as a party-kit-in-a-CD-sleeve (just add friends). While Partygoing doesn’t have any track as compelling as the 2002 FBH toe-tapper "I’m a Vampire,"  it’s an album in the truest sense – perfect for an era in which some journalists think no one listens to albums anymore. The key to enjoying this record is to play it all, in order, and give it time. It mirrors the arc of an actual party, and with each track you find yourself more engaged.

It opens with the intriguing A Drink is Just the Thing, which serves as a brief and alluring overture. On to "Sadder Than the Moon," in which the lunar themes, shattered hearts and general unrequitedness of all Merritt’s lyrics assert themselves through his cloudy baritone. Picture a slow but earnest start to a party that is just gathering in your rec room, wallflowers and all. The patient listener will hold tight, rearrange chairs, and get comfortable for the rest of the album, which unfurls with "Let’s Go to Sleep (And Never Come Back)" – a  tame, 21^st century counterpart to the Magnetic Fields’ 1994 single "Take Ecstasy with Me." Despite his hearing problems, Merritt is aging well, and his writing shows it.

"A New Kind of Town" will kick 80s enthusiasts down memory lane while managing to sound original. It pays just enough homage to trippy, sexy techno of old, with lyrics built for a brave new world. Although Merritt is not one to weave subtle social commentary into his songs (direct, face-slapping opinions, yes), this all-welcoming and inclusive tune proclaims that, “It’s a dance hall for the new freaks, baby/With a dance floor where no one says maybe,” and we almost catch a glimpse of him smiling through Gonson’s vocals. “There’s a sun now,” she sings, “Wake up, you’re snoring.” This song’s merry-go-round continues, extolling openness and open doors, perhaps signaling a new era for FBH, who until now had not released an album in over a decade.

The biggest surprise of the set is "All I Care About is You," which seems unremarkable at first but improves upon repeated listenings. Although in real life Stephin Merritt is known to be a first-rate Mr. Cranky Pants, no one denies the sweetness of his lyrics. You can dismiss “And I don’t care if it’s all in my head/And I don’t care if it’s complicated” as sophomoric, but a greater challenge would be to claim you don’t identify with the sentiment. “Hold my hand,” he sings, and leaves it at that to pave the way for Partygoing’s climax.

In a 1789 letter to Jean-Baptiste Leroy, Benjamin Franklin said that, “In this world nothing can be said to be certain, except death and taxes.” The Future Bible Heroes’ version of that which is certain above all else? "Living, Loving, Partygoing." Merritt has a habit of lauding champagne, but here we get John Waters, Andy Warhol and Guy Fawkes floating in it, and all before this gem: “At Mink Stole’s birthday in gay Provincetown/I came to DJ and left with the clown.” It’s a warm, feel-good dance song that even a misanthrope can embrace.

Sure, Partygoing contains a handful of duds like "How Very Strange" and "Digging My Own Grave," but just imagine at this point that your shindig is really hopping and the conversation is roaring, so no one wants to be distracted by some fanboy cranking the volume knob and shouting, “You gotta hear this one!” It ebbs and flows, it has highs and lows, and it grows on you as a good party should. Novelist David Mitchell expressed it thus in Black Swan Green: "You look a total wally if you dance too early, but after one crucial song tips the disco over, you look a sad saddo if you don't." In this collection, "Living, Loving, Partygoing" is that crucial song.

The party continues, and then slowly winds down as parties do. You’ll be sweeping the floor and filling the recycling bin to "When Evening Falls on Tinseltown," desperately hoping your next soiree will measure up to this one. Misanthropy and hyperacusis be damned – Stephin Merritt and friends always seems to have a good time.

Come for: "Living, Loving, Partygoing"

Stay for: "A New Kind of Town"

You’ll Be Surprised By: "All I Care About Is You"

Meh: "Satan, Your Way is a Hard One"

Trippiest David Bowie Impression: "Drink Nothing But Champagne"

Play on Repeat:  "Keep Your Children in a Coma"

Special note to all you tweeters out there: #FBH is evidently in use for “free bingo hour” and not “Future Bible Heroes,” but hey, the sentiment is right!

The Postelles

SOMEWHERE OVER CENTRAL ARKANSAS, 34,000 ft -- I fear I may have done you readers a great disservice. For a variety of reasons, April was a difficult stretch to keep up with the bevy of new releases that emerged from early April until now. As a result, while I had a good list of released I wanted to investigate, it was sort of a scattershot approach, which ultimately led to – perhaps – one of the spring's best new records being overlooked until now.

The Postelles
New Release: ...And It Shook Me
Release Date: April 23, 2013
Record Label: +1 Records
Sounds Like: Tinted Windows, The Jayhawks, Elvis Costello, Cheap Trick
Location: New York, N.Y.

If you're familiar with Tinted Windows – the infectious power-pop rock supergroup project by Fountains of Wayne (NMT) bassist Adam Schlesinger and their utter joy in celebrating hooky, brash rock music – then you'll be quite comfortable with the sophomore effort of the New York-based quartet, The Postelles. The -track album is laden with catchy, well-crafted rock-n-roll, the kind most American music listeners had access to for the better part of the second half of the 20th century. Today, its harder to find. The Postelles – which, by name, sound like they should be a female soul trio from the '60s – take the clean licks and hooky choruses popularized by groups like Cheap Trick and emulated by Tinted Windows and glaze them over with a thin layer of the sort of Americana and heartland rock acts like The Jayhawks were so adept at churning out and colored by the soulful quirkiness of an Elvis Costello. I have the feeling this is the type of music Nick Jonas wishes he could produce, but always is sucked into a vortex of saccharine bubblegum pop. These guys are able to span that narrow but deep gorge between high-gloss sugarwater and catchy, but malty rock. There will always be groups like The Decemberists (NMT, NMT) and Okkervil River (NMT) to push the creative boundaries of indie rock, but in the meantime, there's nothing wrong with enjoying quality work of the less heady variety.

Come for: "Oh My Luck" (inescapably hooky)
Stay for: "Sweet Water" / "Caught By Surprise" (I can't pick which I enjoy more; both draw heavy influence from early-career Costello and sound like you've heard them all your life, in the best possible way...)
You'll be surprised by: "Pretend Its Love" (it's the one that's different because of the solid guest vocals from Alex Winston; breezy and lighthearted)
Solid efforts: "...And It Shook Me" (although it was the leadoff single and is the album opener and title track, the numbers listed above are more fetching, still, its a good place to start); "You Got Me Beat" (the hardest-rocking, most Cheap Trick-sounding cut on the record); "Heavy Eyes" (I could have listed it in the Meh category, since the dropoff in energy level is noticeable compared to the other tracks, but I never really mind change-of-pace numbers and they still adhere to my 3-2-1 ratio for uptempo-midtempo-slow distribution, and here its more like 3-2-0. Plus the chorus hook is just as tempting as any of the others); "Waiting by Your Window" (clean, jangly guitars are at the forefront); "Running Red Lights (has a bluesy/soulful vibe with the R&B-style chorus vocals, with maybe hints of Ramones-era punk undercurrents elsewhere; bassist John Speyer's presence is notable here); "Tidal Wave" (befitting the title, insert this in a beach trip mix with Family of the Year's (NMT) "Treehouse" and Grouplove's (NMT) "Naked Kids"); "You Know I Won't" (rather than the typical somber closer, this one's bright and peppy)
Meh: "Parallel Love" (generally the same sentiments as "Heavy Eyes," but the chorus isn't quite as good; still, it's quite listenable, so feel free to disregard this categorization)