I’m always striving to bring you the tunes that would likely fit anywhere on the net, yet somehow they get overlooked, like those tunes of Blue-Eyed Son. It’s the project of Andrew Helprin, crafting these beautiful little folk tunes; they’re understated, yet their simplicity also makes them forever endearing. Helprin is in the midst of releasing a track a month for the duration of the year, and this one was recorded with Scott McPherson (Elliott Smith), so he clearly is making a name for himself. I expect all the songs he’s working on will be released at some point with a full-length, but now, let’s settle into this song and await fall’s arrival.
Let’s kick off more photos from the front for Austin City Limits on Weekend Two. Friday was the day. Let’s name drop – Radiohead, Die Antwoord, M83, Foals and more. A whole day of headliners for me and I was super excited. I had one “break” where I decided to get photos of Banks and Steelz to fill in the gap. Oofah. Do I have a story.
How about you read past the break? I had to suffer for my art. Heh.
#pukeandrally #radiohead #cantstopmenow
You know I love a good bit of casual indiepop, which is precisely what Redspencer has been offering us since they announced their latest album. If you’re basing your expectations on the new single, then you can expect relaxing guitar chords with just enough sharpness to near a jangle. The tones are bright enough throughout to match the album’s art work, and the backing vocals definitely provide an added texture of warmth. Perks is high on my list for year ending releases, so please don’t avoid the great pop music these guys keep putting out; their album hits on November 18th via Deaf Ambitions.
I cringe at the word pop punk,so I wanted to stay away from that with the latest single from Girl Tears, though I think there are definitely poppies elements hanging about in this single. That said, it’s a furious tune, hitting you with pummeling drums right from the start; it sort of reminds me of the hook laden punk that Terry Malts bring to the table. As quickly as the song bursts into play, it wraps up and is over…that might be the song’s only detracting quality. You will have more tunes to enjoy soon, however, as the group releases Woke Against the Tide on October 28th via Sinderlyn.
While it’s still pretty damn hot here in Austin, Fall in general leads me down folkier paths of listening. Mat Hunsley, a singer/songwriter out of Newcastle, has got a good folk track in “Fires,” which you can listen to below. Hunsley’s vocals are rich as he spins rhymes atop the gentle strumming of acoustic guitar. This dynamic really holds your attention from the beginning as the song builds upon itself to a strong chorus-like ending with layers of vocals that wants you to sing along.
You can pre-order his upcoming EP,To Being Free, here.
When I pressed play on this track the first time, I immediately thought of Jets to Brazil, but, when I caught up with The March Divide singer Jared Putnam, it was clear I was a little off base. The band releases the Bribing Jace EP on November 4th, so I threw a few questions at Jared to see what he had to say about the release and the new single.
ATH: What were your influences when writing this new EP? Any bands in particular you were listening to at the time?
Jared: In a lot of ways, I wanted these songs to be experiments in pop. I wanted to mesh together what I think are the things that attract so many people to the genre: hooks, good writing, & ear candy. I’m not even sure if it comes through, but I used Tom Petty, 90’s alt/pop, & Radiohead as my primary references. I was trying to get out of my comfort zone, it was a completely different approach, for me.
ATH: There seems to be a slight bit of indecision on “I Might.” How did the song come about, and was a finite decision ever made?
Jared: I Might was the first song I wrote for the EP, & it actually set the tone for the direction I wanted to go. When I initially came up with the guitar part, I thought I was just writing another folk song. I spent a lot of time trying to write the rest of it; chorus, bridge, etc., etc., but nothing really felt right. For whatever reason, it reminded me a lot of 90’s pop, specifically that Susan Vega song “Tom’s Diner” & Primitive Radio Gods “Standing Outside a Broken Phone Booth with Money in My Hand”. I decided to run with that approach, I looped the guitar part & started adding layers. It was a lot of fun to make.
ATH: For fun….two truths and a lie…don’t specify which.
Jared:1. Neil Young is my biggest song writing influence 2. I don’t care what anyone says, the minivan was the single greatest development in automotive history. 3. I find C.C. Deville’s (from Poison) guitar solo’s very emotional. They really tug on my heartstrings.
Pre-Order the EP HERE.
Charles Moothart is probably most well-known out there as the guy working with Ty on Fuzz, and it should come as no surprise that his newest tune is just as rocking as everything his friend as put out, if not more so in regards to the later releases. It opens quick and powerful, blasting riffs through your speaker like nobody’s business, but where Moothart excels is just letting things go…as he does just after the 1.40 mark as he breaks it down into a wailing wall of a jam. You’ll hear this new burner on his new EP, Homegrown Paranoia, which comes out via In the Red Records in November.
Man. Houston and their “young” bands! We released the latest Young Girls record this past spring, and now we’re rocking out to this new Young Mammals tune. The bands have similar sounds, maximizing the blend between rock n’ roll and huge pop hooks; you’ll find all the songs just as infectious as this new single…hopefully getting your attention as they blast towards the release of their full length. This track wears the name of the album’s title, Jaguar, and Odd Hour Records will be releasing it on October 28th. Stomp those feet and dig the hooks!
Man. Slumberland Records is making my week. I picked up the latest from the label with Real Numbers and Terry Malts new LPs, and now they’ve announced this record from The Proper Ornaments. Those of you looking at nostalgic classic rock, and I mean the early, carefully crafted sort, will surely adore what’s here. A warm vocal moves over a piano backbone, with a quiet bit of precision percussion. This is how pop music was meant to sound…at least to my ears. Look for their new effort, Foxhole, hitting on January 20th next year.
I’m always looking for songs that are a little outside of the realm of what I normally listen to, but that still fit the bill as infectious and exciting. This track from The Molochs, out of LA, called “No More Cryin'” is different and delightful– a groovy ditty that will lodge itself into your day and beg you to listen again and again. From the sound of this group, you might imagine that they’d be from here in Texas, or somewhere southern, as they’ve got a definite honky tonk sound to the jangly beat. Perhaps it’s the intermittent harmonica that chimes in and out of the mix, or the crunchy bass line that begs for toe tapping and head bobbing. What’s also great about this song is the story that it tells in between the catchy, sing-along, chorus. So tip your cowboy hat to these Californians and give the track below some well-deserved attention.
America’s Velvet Glory will be out January 13th via Innovative Leisure Records. Pre-order it here.