Shakey Graves – Roll the Bones

This is one of the absolute best albums I have listened to coming from the internet homemade music scene, straight from Austin, Texas. It’s incredibly pretty music, but it’s also mature, complex and rich of emotion. The lyrics are wonderful, delivered with beautiful singing in breathtaking melody. The banjo-playing is just perfect. Taken aback by the quality of the first track, I thought to myself that they couldn’t keep that level for the whole album, and wondered if any track is less than repeat-listening worthy. None at all. The last song is one of the most beautiful also.

The album goes back and forth between alternative country a purer folk and country music, with a few stops for overwhelming Tom Waits influence (Tracks 7 and 9, at least). You get the great feeling of listening to something that has deep root in culture. For Americans, the “100% made in America” feel must be very satisfying. The lyrical content is less rooted in the imagery of its lyrical content, but that’s skin-deep. The deep American folk view of looking at the world is the most important thing to preserve, and it’s all here. The folk phraseology is there, the way of talking, centered on very real things and their emotional meaning, with expressions such as “cherished more than gold” and “I think I’ve grown a little thinner”. No embarrassing stories about a horse sung by a twenty-something guy, just a country sort of thinking and talking, such as in the marvelous “Proper Fence”. A spoken voice sample about the penis is the only very disconnected thing I could find, in the most out-there tracks, the farther away from country, with a nice alternative country melody.

Only bad thing I can say about this is that I miss having the lyrics somewhere. (edit: lyrics here)


Foxxhound and 28 North – live at The Mint, Los Angeles, August 5

Beautiful concert, very pretty, well-constructed music. Acoustic guitar, cello, drums. It’s all gentle, all of it including the singing, with the exception of the lyrics. They carry real drama, feeling and are pretty interesting in themselves. Not as “song about absurd concept”, but as “yet another take, interesting at that, on real life stuff”.

The album linked above includes the songs they played and it’s pretty good as well.

You know, “indie”. Is it exceptional? Sorry dudes, I don’t think so. It isn’t as hard as it seems to find nice music around. Damn if it doesn’t feel good when you actually find it though. Has this band enriched my musical appreciation? Nope. But I feel glad I won’t die without listening to “When you wish upon a bar” and “Seams”, because they are gorgeous and our universe isn’t  infinite, it isn’t even the only one. There are actually many universes sitting side by side in the cosmos, the scientists are trying to prove it by finding sings from another universe sitting next to ours. You know? It’s all so big, there are so many aliens we will never meet because everything in the multiverse is so far away, we just do things and die here in this universe, what’s the point. But those songs are pretty, so I’m glad I didn’t die yesterday before going to the place.

They were very, very fun. But they don’t have bandcamp or soundcloud. Here’s their website:

Anyhow, as the lead singer mentioned, the 90’s were pretty awesome, and they really have their hand at the 90’s version of pure rock n roll, the Guns n Roses sort of stuff. It isn’t the most interesting music, but it’s pretty fun alright, I wish them the best. Since they have been opening for more notorious bands and actually touring the US, it kind of falls outside of the scope of the blog. This is more like a recommendation to go see them if they are in town.

Two other bands played, Gabe Rosenn Band and Lumaria. The first is one of those blues bands, you know? Yeah. Lumaria is awful.


Crywank – Narcissist on the Verge of a Nervous Breakdown

Crywank is the depressing folk/anti-folk/folk punk project of James Clayton from Manchester, UK. His description of this album is as follows

“My new album ‘Narcissist On The Verge Of A Nervous Breakdown’ is a collection of paranoid songs mostly about me trying to understand my own sadness along with the concept of sadness as a whole. It was fueled by self help books and pot.

I recorded this album in my parents dining room. Most of the songs on this album are the first take of me trying to record them (some needed a few more takes as I messed up my first attempts) and so it’s riddled with mistakes, but hopefully you can forgive that. Where my first album was tied to the topic of dealing with a breakup, this album has less of a definite focus. Most of the songs are about coping with and deconstructing my sadness, some are about odd things that happened in my past, and others are just about people and scenes. They where mostly fueled by stupid dark thoughts, and through songwriting I’ve tried to get past them.”

I listened to this awhile ago when it first came out because James posted it on /mu/. I didn’t think much of it at first because I’m not usually into this kind of music, but re-listening to it again now I realize that this album is actually really great. It gives off such a personal and honest feeling that I personally wish I could pull off with my own music. This is probably one of the most emotional and hard-hitting albums I’ve heard so far this year and if you are going to listen you better be prepared for some damn emotional music. Despite the sloppy guitar playing (sorry James), this album doesn’t lose any atmosphere or impact from it. In fact I believe the mistakes and bad technique add a lot to the massive personality of this record, something which a lot of bands/artists try to achieve and fail at.

In conclusion, have some tissues handy if you’re gonna listen to this album because you’ll probably need them.

Rating: 8/10

Favorite Track(s): “Now I’m Sad (Boo Hoo)”, “It’s OK, I Wouldn’t Remember Me Either”, “You Couldn’t Teach Me Integrity”

Fuyuko’s Fables – Fuyuko’s Fables

Scott Maynard, Jeremy Hunter, Al Green, Matt Maynard, and Mike Isaacs form Fuyuko’s Fables, a band that creates dreamy folk compositions with the combination of well arranged instrumentation and harmonious vocals.

With folk music it has never really been about the musical technicality or even all to much about the ability to sing even, at least not in my eyes and I’m sure many others as well. Instead, the appeal of folk comes more from the ability to write good songs, something to sing to, something to relax to, something you could easily play on a guitar with all of your friends; it is a social type of music that is only made better when you have other people to share it with. Fuyuko’s Fable’s keeps the traditional elements of folk, these personal warm arrangements and expands on them with significantly more focus on graceful melodies and harmonious vocals than you would find otherwise.

Scott’s voice is very pleasant from the beginning of the first track to the end of the album. ‘Buildings’ begins with this supple boyish vocal that is accompanied twiddling guitar and a lush combination of strings and horns with more instruments eventually jumping in, all contributing to a slow build up; it all comes together to make up an organic end result. When there aren’t lyrics to sung the vocals are usually filling in certain areas with these harmonized “Ooos” and “Ahhhs” backed by other members of the band that are completed with clarinet rising up out of a medley of other instruments. Just the beginning of this track features some of my favorite playing on the EP which is sprinkled throughout in the form of tranquil breaks. The band isn’t simply playing together, it doesn’t sound planned in the same way Holden Caulfield sees the actors in a film act, instead each member fulfills their role in other ways by working as separate units with each combining there individual duties to create something that sounds, at times, instinctive.

If you aren’t listening for the great instrumentation or the breathy vocals you will likely be listening for the thoughtful lyrics, the almost poetic words that remind one of simple things such as youth, innocence, love, and all of these vague but personal emotions that we all experience, emotions that are particularly noticeable on ‘Drag em’, the second track on the album. ‘Drag em’ switches gears into a more upbeat and straightforward approach that is full of calm well placed lulls and plenty of falsetto vocals. As the end of the final track indicates so bluntly, “we’ve all been loved” and we’ve all heard songs about it, songs that sing of vague emotions amongst other clichés. Its no secret that these concepts get old but in a way I kind of have to applaud Fuyuko’s Fables in the sense that they make it easy to connect through these unclear passages. You aren’t forced to guess the meaning of a song in terms of what it means to them, instead it is very easy to form your own stories, take from these songs their meaning and apply it to something that we have all likely experienced such as love and if there is any indication of good songwriting or a reason to enjoy this band, for me it is this.

As stated at the beginning of this review, the success of this band, the attractiveness of their sound lies in their ability to create easily digestible folky pieces of music but at the same time this is also where they reach a negative point for me. The fact that there isn’t the slightest hint of dissonance or anything at all negative about this band’s sound; even when they are singing about something sad they are doing it in such a positive and enjoyable way. Their consistency, at a point begins to change into a lack of variety which can become a headache after so long and as much as the vocals are a highlight for me it would have been nice to hear some variation.

Despite this EPs very minor shortcomings all of the positive attributes of the album overcome them. The strengths this band has, the straightforward  and simplistic way they work together to deliver emotions to their audience is all so relatable and makes for a great way to spend 25 minutes of a spring or Summer evening.

Overall rating: 8.0

Favorite Track: ‘Buildings’ ‘Drag ’em’

Recommended: Your childhood or a summer’s day in the woods.

Released: 07 September 2011

Links: Folk with Fuyuko’s Fables on Bandcamp


Track Review: Little House – Avocado

see? pink hair i told you

here she is being indie

Little House is some chick with pink hair in australia singing twee shit like the exchange rate for cute lyrics is 10USD per cute line.
Anyways, in her song Avocado, she incorperates some interesting textures and beats in her simple chord progression and melody. Rest assured, this  doesn’t go beyond regular delicious twee pop. It DESTROYS regular delicious twee pop. she sings of whimsical things like the moon and you and how frightening heightning science can seem and it’s magical. one of those times when the lyrics and the noises match up perfectly. Oh, and there’s glitchy hip hop beats

She also has a cute accent which is good if you need a quirk before you check something out, but otherwise it’s relatively unimportant.

As far as her image goes, I feel like she could easily be one of those attention whores who goes out of their way to make you fall in love with her, only to be all SORRY MOTHERFUCKER IMMA FUCK THIS GUY AND CRY WHEN HE DUMPS ME. YOU AINT GETTIN SHIT THOUGH, I AINT EVEN GONNA HOLD YOUR HAND and then you cry yourself to sleep while pretending to hold her, attempting to fill the hole in your heart with some delusional fantasy cooked in your brain just for this special occasion. But I kinda hope she’s not that, I would get depressed

Cute song. Little short though


I had a hard time in high school if you couldn’t tell already

Victor Florence – Autumn

So, Victor Florence continues to evolve and come up with stuff that is very different from what I thought his next album would sound like, specially the first and second songs, but the singing style in most of the whole thing, as well as the lyrics. At the same time, it continues to be beautiful and emotionally thick.

I just love this guy’s music. He’s always up there with the dozen or so guys I always think about when I think of these “extreme independent” music I came to appreciate so much more than all of the music industry combined. Fuck Lana del Rey (hopefully), if there’s a guy sitting in his room coming up with his best effort at music, arriving at strange, quaint stuff that doesn’t really belong to any genre, that’s what I’m interested in listening to. Idiosincratic music that isn’t aimed at repaying a contract with some label or record company, born out of absolute boredom, the idleness of youth, a vague hope at living off music that will probably never amount to anything. This guy wants to show you his music because you are his friend and no one else wants to listen to it. The fact that you don’t actually know him doesn’t actually matter much, it’s just more human and real and true.

I exchanged e-mails with him a few months ago, I asked him how the last season’s album was going. He had this to say: “Autumn is not going at all. I’m stuck in a pretty bad lull, lyric
wise. I want to find my own voice, lyrically but nothing is coming and all that”. Less than a month after, the fourth season album was out. I feel glad that I was here to follow this “finding his own voice” thing in real time.

It’s really becoming closer and closer to poetry, but that is a huge cause for concern. Once you start to express yourself in less of folk or rock lyrics and more as poetry, you stand to be compared to some pretty badass dudes and that’s daunting. I tried not to actually do that, but it wasn’t that hard. A considerable part of the lyrics wouldn’t feel as emotionally charged when read as when you listen to him singing it. The successful combo of pretty melodies and emotive singing is probably the most enduring characteristic that ties all his albums together. Maintaining it through dozens of songs and learning how to enhance it with musical experiments is the stuff of the opus at this point. It has arrived at an interesting moment, specially on the first track, which aims at a roughness of sound that you’d find before in some singing moments or at whole songs that profit from the age-old technique of punching the acoustic guitar desperately like a mad man.

As for the future, keep doing your thing. I think millions can like this stuff, you just gotta sell it to them somehow.


Snailhead – The Image

The Image

Best New Music

Snailhead’s Sophomore release takes the title and the tracklist from a S&M movie from the seventies and it’s chapter titles and generates an mind-boggling 12 minute 39 second uptempo rock album in only the style that Snailhead would produce.  Each tracks vocals build off of one another and focus in around the lyrics suggesting the title.  This album has a focus on a nice light and popish melodies but with dark progressive rock undertones that I’ve only heard on a few British bands before, who generally use synth heavy backings for the vocals, and the drums leading every other part.  Snailhead also does a great job at working with other unnamed artist, such as a local underground rapper and a handful of other great backing vocalists and friends.  The band that stands out being the most similar to what I have heard in this album and just the style would be like Franz Ferdinand but with a harder rock sound with and a much better vocalist.

False Starts – A driving rock track with Snailhead leading the vox and the instrumentals.  With the vocals shouting at the softer vocals blending perfectly together.  A 52 second track that I can keep playing back to back and still hear new parts to it, this is one track that Snailhead should really work on making a full length track, as I feel that it should loop like 10 times at least.  The guitar melody is really catchy rift, and the drums leave me wanting more of it in there but it’s just enough that it’s not drowning out any other part.

In the Bathroom – This track stood out as a great example of Snailhead with doubling and tripling the harsh vocals, with several friend also helping out. A great track on the slower portion of the album, it truly sounds like a Holywood ending scene track which is fitting for the second to last track on the album.  It’s main melody would work for any “congrats you win” video game scene.  This track is overloaded with detuned instrumentals in a good way.

To be honest this was a challenging album to review, as there was not a lot of content to it, and each track left me hanging as though I was wondering what is going to come next, in the same sense of having a track with no bridge or no breakout section, as each track was the breakout as an entirety which gave this album a great new concept, but it also feels incomplete resulting in the lowered score.

Don’t forget to check it out or download it through this link

Snailhead’s self-Rating: 6
Rekapper Overall Rating: Strong 6/light 7