It didn’t take long for the Seattle band The Head And The Heart to find an audience for their brand of indie folk and pop. In fact, within a year of coming together at a local open mic night the six piece band had released their self-titled debut album and become a standout of a hearty Seattle music scene. Following in the steps of fellow indie-folksters like Fleet Foxes, The Head And The Heart signed to the local Sub Pop label who have re-released the group’s introduction this year.
Bloodless Coup is the fifth album from the Irish band Bell X1. And similar to their previous works, listening to these songs only makes one wonder what the larger scale American audience is missing. If you don’t know the story, the trio who tour the U.S. in humble fashion from club to club, like most other indie rock bands, are of superstar status in their native Ireland. And while this scenario isn’t unheard of, we see that type of discrepancy in popularity with Canadian artists frequently, Bell X1 offer up a blend of emotive songwriting and tempting melodies that our audiences should no doubt fall in love with.
For twenty years the band Elbow has been making music together. In 2008, they received arguably their most noteworthy accolade winning the UK’s Mercury Prize (their 2nd time nominated) for The Seldom Scene Kid. That album spawned some mild attention in the States for the song “Grounds for Divorce.” Yet despite their longevity and critical praise the band is seemingly still making lots of first impressions upon each release. Their latest, Build A Rocket Boys! stands perfectly in line with their previous works as a grandiose, deliberate and emotionally stirring effort.
Seattle’s Fleet Foxes surprised even themselves with the success of their debut album. Fleet Foxes (the album) was an extraordinary introduction to the band’s harmonic bliss and rural sonic landscapes. For indie rock audiences, the band ushered in unprecedented warmth with their music and an approach that was honest and rather unassuming. Yet faced with the reality of their follow-up record, the band found itself in the precarious situation of dealing with grand expectations. The process of making what would become Helplessness Blues was well-documented as the band dealt with the demons of uncertainty and frustration.
Lots of musicians attempt to recapture sounds of classic soul, few actually own it. For Raphael Saadiq, Stone Rollin’, his fourth studio album is another indicator of how much a true descendent of classic soul and R&B he is. He tips his cap to the greats like Sly Stone and Stevie but all the while walks his own walk. The Grammy nominated Saadiq again delivers an awe-inspiring collection of throwback style jams on Stone Rollin’.
It’s not characteristic (or suggested) to celebrate a win before you even play the game. But for My Morning Jacket, we’ll make an exception. On their new full-length album and first since 2008’s Evil Urges, MMJ open the curtains with a song called “Victory Dance.” While it may seem bold, the ominous opener turns out to be a good litmus test for this new collection as Jim James and his counterparts reconnect us to their shape-shifting brand of rock and roll.
When we first met the band Dawes early in 2010 it was almost like being reintroduced to an old friend. Their classic folk-rock sensibilities and contemporary storytelling made for a comfortable, inspiring discovery. North Hills, the title of their debut was a deliberate nod to their Laurel Canyon home and their sound indicative of the neighborhoods musical landscape, both past and present. Nothing Is Wrong, the band’s sophomore album, further embraces their geographic roots and reminds us how easy it is to get wrapped up their lush harmonies and wistful stories.
When you think of music from New Orleans it’s not unusual to visualize big brass bands, Dixieland jazz, swampy blues or Cajun funk. But as we listen to In Light the debut full length album from the band Givers it might surprise you that this young 5-piece band actually calls home to Lafayette, Louisiana. To attempt to categorize their sound is a challenge all to itself. One thing is for certain though, In Light is a bright and flavorful adventure.
Bon Iver gained notoriety in 2008 with the release of his intimate solo debut For Emma, Forever Ago. The album was heralded as one of the year’s best independent releases. Peter Gabriel would go on to cover Bon Iver and Vernon even ventured into the world of hip-hop as a prominent guest on the latest release from Kanye West. All that would just add to the build-up of expectations for the second Bon Iver album. To say that the new album from Bon Iver singer-songwriter Justin Vernon is easily accessible … well … that wouldn’t be true. Yet despite a much bolder landscape, puzzling lyrics and a general propensity to demand more of its audience Bon Iver, Bon Iver is an inspiring effort.