Volta Do Mar – “The Sound of Day”
At The Speed of Light or Day
This introductory track to an interesting, slightly math-y instrumental album was one of the tracks that made me give a little more credit to bands who seem to value harmony but choose dissonance. Here was a track that so clearly lived in both worlds that I couldn’t help but be patient and just listen.
At The Close Of Every Day – “ All Things End In Waters”
The Silja Symphony
A calm and delicate song, with a lot of subtle craft in it that sets it apart from the herds of voice-and-acoustics out there. Reminds me of Damien Jurado, but I like this better. A bit of extra instrumentation and some unexpected minor harmonies make it less predictable than its unassuming strumming seems to imply at first.
Pelt – “True Vine”
Ayahuasca
Somewhere between the Eastern frenzy of Shalabi Effect and the supernatural introspection of Charalambides lies Pelt, whose string-and-feedback drones and acoustic soundscapes are difficult to pin down in any way. “True Vine” is my favorite of their long tracks (though there are several good ones), with its menace and beauty in perfect solution. It’s like watching the world burn, through a silk veil.
Julianna Barwick – “White Flag”
The Magic Place
This album, mostly vocal, is unique and compelling but not an everyday listen. As the title suggests, it’s a “place” rather than, say, an adventure or experience, and each song seems to describe a different set of surroundings. White Flag seems vaguely African (in a “Graceland” way) while the title track is like a stone church. At any rate, it’s a relaxing and soft album and this is a good song. (insound)
Frederic Chopin – “Mazurka in D minor, Op. 33 no. 2”
A short ride in an modest (but elegant) brougham.
Givers – “Ripe”
In Light
From an uncertain beginning (on both the album and this song), a confident and memorable song. Once it actually starts moving, about a minute in, this catchy tropical romp demonstrates a surprising breadth of sounds, and some effervescent, precise guitar/vocal interplay. (insound)
Ms. John Soda – “Elusive”
No P. Or D.
This old (2002) album is still my favorite of Ms. John Soda’s; others I’ve listened to have continued the sound, but the well-crafted lap-pop of “Misco” and “Elusive” is as fresh today as it was nearly 10 years ago, and the rest of the album is still solid. I like the little fade-out on this one, mirroring the fade-in of the first track. (insound)
Sister Crayon – “(In) Reverse”
Bellow
With shades of Nudge, but with more of a focus on the vocalist’s soft but soaring voice, Sister Crayon’s Bellow is a thoroughly pleasant album which, while it rarely ventures too far in any direction, succeeds very well at what it does. There are a few times when they transcend their own type – the brief ending revel of “Stem,” or the mechanical repetition of “Anti-Psalm,” but for the most part it’s just a beautiful place to inhabit for an hour or so. (insound)
School of Seven Bells – “Sempiternal/Amaranth”
Alpinisms
I had no idea this group, composed of former members of Secret Machines and On!Air!Library!, even existed. But their rhythmic, synth-washed, brand of whatever it is caught me by surprise at a coffee shop and I immediately picked up this album. This song isn’t the most representative, but it is perhaps the most striking – a metronomic, pitch-perfect opener (Sempiternal, presumably) followed by an extended mantra-like build-up and crash, and then a warm, prickly blanket of a coda. Unique and confident music-making. (Ghostly)
Dirty Three – “Lullabye For Christie”
Whatever You Love, You Are
Inevitably, whenever I run into a “what’s the saddest song in the world” discussion or article, my mind jumps immediately to “Lullabye For Christie.” Sure, there things like “Tears In Heaven”, Barber’s Adagio For Strings, much of A Silver Mt. Zion’s first album, and more recent stuff like The Antlers’ Hospice. But I always come back to this simple call and response, its inexorable, funereal procession and final unhinged shriek. Soundtrack to a burial at dawn.
