Pop 'stache

The month of August, the closing gasps of summer, reads like a drive home as the sun sets. Gone are the long days at the beach and the even longer days on the road. Memories, the good and the bad, pass through one’s head like the mile markers whizzing by.

While the moniker Ski Lodge may contradict this basic visualization, sitting warm by the fire surrounded by the cold holds the same feeling of cleansing warmth that any autumn sunset can bring. It’s in this space that Andrew Marr, the voice and brainchild of Ski Lodge, kindles lush pop melodies and rich lo-fi indie compositions that mask a vulnerable songwriter’s troubled experiences to create a truly expressive work of music.

While the majority of press has focused on the band’s melancholic crooning and comparing its striking gloominess to the alternative’s favorite tragic hero Morrissey (“Does it Bring You Down” sounds like part two of “What Difference Does it Make?”), one cannot ignore the eerily fateful connection, even if by coincidence, to the other main man of The Smiths.

Perhaps one inherently compares Ski Lodge to The Smiths because Marr’s name instantly evokes Smiths guitarist Johnny Marr, but both command unique approaches to create a signature sound.

Still, there is some merit to the comparison; on Big Heart, innate, jittery grooves lace slow-moving vocals in a quasi-uplifting kind of way. “Boy” sounds like it fits right in on a road trip or beach day playlist.

His playing is simultaneously contemporary and nostalgic, like many recent indie guitar outfits. You can hear Real Estate’s Days and Bobb Bruno’s guitar in Marr’s style, which may actually be a detraction to those looking for novel sounds, as similarities between Ski Lodge’s contemporaries may coalesce into confusion of identity.

While it is true that this sound has been explored heavily within the world of indie rock in the last five years, Marr has a wonderful gift when it comes to crafting pop-infused guitar melodies that merit his attempted individuality.

“You Can’t Just Stop Being Cruel” and “Anything to Hurt You” buoy about with such rich sound that either could merit the case for lead single; both are written with underestimated hooks that are sweet to the ear.

But Marr’s lyrical ability is as impressive as his compositions. His conflicted soul may come off as somewhat melodramatic, but pairs so beautifully with the bright colors of sound that are painted behind him that one can almost overlook the brood-and-gloom way Marr portrays himself.

It’s a refreshing dichotomy, as he simply and elegantly addresses parental failure, infidelity, and lost love, among other things. In standout track “Just to Be Like You,” Marr opens by uttering, “Oh, just to be like you/Is all I ever wanted to be/Scared and uncommitted to the truth/That’s what I thought I should be,” then contemplates the idolization of a failed role model with an almost casual air of tragedy.

The album’s closer, “I Can’t Tell,” stands out particularly from the rest of the album as Marr explores more quiet progressions of sound. A beautifully frank interlacing of piano and horn frame Marr’s now signature voice, as he closes his appeal to the listener quite appropriately. He sings over escalating sound, “No time to be mad, no time to be mad, I’ve given you everything.” It’s a striking moment of vulnerability and sincerity on an album that deals in these traits almost exclusively, yet feels refreshing and cathartic for both the listener and Marr himself.

Big Heart may be released in the final breath of this summer, but it certainly comes out swinging. Ski Lodge is poised to break out of Brooklyn to take up that lo-fi guitar mantle alongside the likes of Kurt Vile and Youth Lagoon, championing a sound based in the past but fresh to the taste today.

Marr may scowl and pout while he croons about but, armed with Big Heart, he is sure to be smiling inside.

Ski Lodge – Big Heart tracklist:

1. “Anything To Hurt You”
2. “Boy”
3. “Looking For A Change”
4. “Big Heart”
5. “You Can’t Just Stop Being Cruel”
6. “Dragging Me To Hell”
7. “I Always Thought”
8. “Does It Bring You Down”
9. “Just To Be Like You”
10. “Down On This Southern Tip”
11. “I Can’t Tell”

Whiny vocal familiarity and long, minimal instrumental jams represent the Clap Your Hands Say Yeah we knew eight years ago. Since the slow dissipation of fame following the group’s popular 2005 self-titled debut, members of the indie-rock staple band seemed to focus more on their various side projects than on keeping CYHSY fresh or prominent.

With a short lick on a deep-funky Wah-soaked guitar, the title track of Don Cavalli’s Temperamental kicks off. After a quick, bluesy key-change, Cavalli sings, “No wonder why baby, I’m sitting here thinking,” making the beginning of Temperamental sound like it’s jumping in halfway through a heated conversation.

Cavalli’s music is temperamental itself, never resting on a single feeling or sound. Each instrument has its own disposition and each voice Cavalli assumes has a different personality.

In “Garden Of Love,” Cavalli takes on an old western, Ennio Morricone feel and fuses it with his pop sensibility. A dainty-sounding riff on an electric piano pops in every few measures, but the song tries to maintain a rough edge with Cavalli’s bluesy drawl and doggish croons.

His work is straight to the point; the intros are sparse and the songs are compact. On “Santa Rita,” Cavalli fires right in, and distant violins sing every once in a while amidst guitar trills. The track slows down to half time for the chorus, and just as easily jumps back into the groovy, bass-driven verse.

Temperamental doesn’t fully pick up until “Gonna Love You.” Psychedelic guitars twang in the way of a perfectly cheesy sitar. Cavalli sings like it’s a blues song, and a reggae organ pipe steps along to a raw, 8-bit beat that sounds like a pre-programmed beat on a keyboard, but it’s groovy nevertheless.

Starting off like a Beatles track, “The Greatest” begins with choppy guitar and a melodica, with vocals dancing simply around its melody. The bluegrass twang of a banjo then makes a subtle entrance. The next song, “Feel Not Welcome,” has a little country ditty on the guitar that is quickly replaced by a heavy beat and an electric sitar.

Cavalli has a knack for concocting different styles, whether the blend is discreet or obtrusive.

Tempermental is a concise album, and the five years Cavalli took to write it paid off. Odd expressions of old rock and roll are infused with world music and wrapped up in funky songs with psychedelic leanings. The flip side of this is that Cavalli gets caught in simple structures.

“Zundapp” is another track with a basic format, but its grooviness is still satiating. The dancey guitar trots along while Cavalli’s wonky voice keeps pace. Calm progressions voice themselves in the background, but are still hardly noticeable. It’s a gem of the album because it defies the criticism of simplicity.

Cavalli is a talented songwriter; his absurd sonic combinations are forward thinking, though his progressive qualities end there. Everyone can find something to like on Temperamental because Cavalli manages to incorporate nearly every style of music.

However, in these well-placed tributes, Cavalli lacks the nuances of a musician who focuses on a certain style. The songs are cut-and-dry and they have no time to develop, sway, and resolve.

Cavalli has his own thing, and it’s not fancy. He has a similar sentiment to Tom Waits, though his music is worlds more docile than Waits’ work. Temperamental is Cavalli’s take on a frantic and scatterbrained world, and he mimics this with his erratic and jovial music, so bless him for that.

Don Cavalli – Temperamental tracklist:

1. “Temperamental”
2. “Garden of Love”
3. “Me and My Baby”
4. “Santa Rita”
5. “Gonna Love You”
6. “The Greatest”
7. “Voice of the Voiceless”
8. “Feel Not Welcome”
9. “Zundapp”
10. “Say Little Girl (feat. Rosemary Standley)”
11. “Row My Boat”

Thomas Hardy Morris has finally released his solo debut, Audition Tapes, after 16 years of being the frontman for Dead Confederate and member of the supergroup Diamond Rugs. The album, which hit stores July 30, strays from the gritty psychedelic rock that Morris is known for, showing off an entirely new aspect of his abilities as a songwriter.

Audition Tapes is a stripped-down, personal album with a lot of twang. Morris’ characteristically strange, nasally voice still sounds reminiscent of Billy Corgan, but is placed on top of a country-grunge backdrop. Although most of the record is mellow and slow, it has a lot of darker elements that are similar to his work with other projects.

With some help from his friends in Diamond Rugs, Morris has managed to create a rich, minimalistic solo record that speaks volumes.  His emotions are prevalent and his attempt at a new genre is spot on.

The opener, “Lucky,” is a track about the struggles between a man and woman, with honest lyrics and an interesting differentiation between the two simple parts of the song. The chorus, which repeats, “You remind me that we’re not getting any younger,” is a raw realization of the fact that there is no time to waste in life, and to get caught up in a sour relationship is something you can’t afford to do.

After “Disaster Proof,” one of the heavier, faster tracks on the album, comes the beautiful “OK Corral.” This emotional song is easily the best on the entire release, with a unique guitar riff during the chorus and a groovy lead guitar throughout the last half. It’s catchy, and builds up toward the end to evoke a lot of feeling, which is rare on the album.

“Share The Needle” is the other heavy song thrown in among the relatively calm tracklist. It’s a lot grittier than the others, evoking Morris’ work in Dead Confederate. What sets Audition Tapes apart the most from his previous music is the use of slide guitar; that aspect adds to the country tinge audible throughout the album, even though the “Share The Needle” itself doesn’t sound like a country song at all.

The last track, “Own Worst Enemy,” is in the running behind “OK Corral” as the best track on this release. A quivering Morris lovingly sings, “Be in my one-minute movie, just be yourself/All you gotta do is be honest to scare them to death,” over a pretty acoustic guitar riff in the gorgeous, raw ending to Audition Tapes. The song surprisingly picks up a bit toward the end after a short gap with a crowning slide guitar solo. All in all, it’s the perfect end to this wonderful solo debut.

Although Morris is well-known for his fuzzy, chaotic writing style through Dead Confederate, his association with the band isn’t at all apparent in his solo debut.

He managed to create a sound all its own, even compared to what he’s usually comfortable with, while making it seem effortless and natural.

Whether or not Morris will release more solo material is a mystery at this point, but seeing as this is his fourth release this year, it’s safe to assume there will be plenty more pleasant tunes to come.

T. Hardy Morris – Audition Tapes tracklist:

1. “Lucky”
2. “Disaster Proof”
3. “OK Corral”
4. “Audition Tapes”
5. “Hardstuff”
6. “Quit Diggin'”
7. “Share the Needle”
8. “History’s Hoax”
9. “Beauty Rest”
10. “Own Worst Enemy”

Dysnomia is a memory disorder in which one cannot identify things or people by their titles and names. A sufferer knows what an object is and its function, but simply cannot identify said object by name. Dysnomia is the Greek daemon of lawlessness, prevalent in both philosophical and mythological ideologies. Dysnomia is the only known moon of the dwarf planet Eris.

Dysnomia is also the second studio album from Dawn of Midi, an aural journey through electronic minimal groove. It’s a proper album title for such an ambient work, which swerves though electronic swells, experimental groove, and improvisational jazz.

In just under 50 minutes, Dawn of Midi impresses its live workings in a continuous rhythmic voyage. No words, no breaks, and no extravagance here.

Based out of Brooklyn, Dawn of Midi—comprised of bassist Aakaash Israni, pianist Amino Belyamani, and percussionist Qasim Naqvi—recruited Animal Collective and Grizzly Bear collaborator Rusty Santos to mix the work.

Nine tracks, all named after scorned, cursed, villainous characters across various mythos, blend seamlessly together without pause, culminating in a more cohesive work than everything short of a well curated DJ set. While the group’s debut album, First, exists in a more analog world, Dysnomia feels like it belongs in the cosmos with the tracks’ namesakes.

It’s not really kosher to speak of individual tracks and whether one stands out more than another, or to point out weaknesses and strengths of particular sections of the album.

Dawn of Midi has crafted Dysnomia in a way that dictates it be consumed, and thus judged, as a whole. Don’t think of the album as nine tracks, but as one set, seamlessly curated and only divided on the basis of conventional album frameworks.

The group went through a painstaking process to perfect the transcription of its live interpretive work onto record, and its talent for improvisation shines through as a dogma of sorts, to guide the group through the album. Even if improvisation is elemental, the group performs in a tight and structured manner, producing coherent melody and rhythm in theme.

On another level, there is validity to connecting the concepts of dysnomia to the group, as Dawn of Midi escapes many identifiers in modern music. This is not pop or rock or jazz or anything, really, other than music at quadrant zero. What seems like circumlocutions of rhythm only seems so because of the nature of this particular beast.

Instrumental hip-hop and jazz have become increasingly popular over the last couple of years, as groups like TNGHT and BadBadNotGood pave the uneven path to allow common music listeners to approach the seemingly simple, yet complex musings of groups like Dawn of Midi.

The departure from Dawn of Midi’s more traditional jazz sound cultivated early on in exchange for one that is more processed actually comes off as organic, leading to an original and impressive foray through the grooves of sound. Dysnomia thus emerges as a stunning musical project that plays by its own rules, refreshing the palette of this year’s musical landscape.

Dawn of Midi – Dysnomia tracklist:

1. “Io”
2. “Sinope”
3. “Atlas”
4. “Nix”
5. “Moon”
6. “Ymir”
7. “Ijiraq”
8. “Algol”
9. “Dysnomia”

Based noise is often left out of the modern conversation of popular EDM. It’s a shame, really, as the hyper-stimulator, four-on-the-floor, steroid-taking pop electronica of today literally drowns out anything else substantive or creative that the middle class of electronic music is exploring.

It is in this space that Fuck Buttons attempts to pulsate through the noise with, well, more noise. This is in no way a slight; the group’s third full length, Slow Focus, is its most realized yet.

It is a practice of the weirdest maximal electro on this side of 2013, where waves of synth swell over more waves of synth, where drum machines and odd sounds dance around each other in the night sky, careening toward a seemingly chaotic end that is both constructivist and disastrous.

Still, there is a sense that Slow Focus is unaccomplished. We as listeners are given what Fuck Buttons does best, groove and sound, but not much more. The album works through variations of volume quite comprehensively, but in doing so sacrifices elements of creativity and melodic dynamism.

Perhaps the duo, comprised of Benjamin Power and Andrew Hung, exists as a techno “vigilante,” trolling the entire EDM upper and middle classes with a sound that purposefully counters what listeners have been trained to enjoy.

This is particularly evident on the longer tracks of the album, especially the closer, “Hidden XS.” A rather beautiful, blockbuster soundtrack-worthy, cathartic groove is encompassed by slow-moving chords and billowing synths. Then, not much else happens. For 10 minutes.

Maybe this is truly where the duo’s “slow focus” comes in. Power and Hung form a stunning frame for this messy, dubstep-tinged snippet, then meticulously investigate its entire sonic capacity.

Maybe our collective post-internet, post-there’s-an-app-for-that mental capacity just can’t sit still long enough to interpolate what Fuck Buttons is really trying to do. Some of the blame must rest on the musicians, though; blocks of sound can be captivating and engaging if chiseled in the right way. Slow Focus certainly is a big enough block, only its shape doesn’t really turn any heads.

To be fair, there are some moments of maturity and mastery on Slow Focus that make the album appreciable. Funky flows are designed with the most novel sounds, each more factory-imagined that the last. “Prince’s Prize” races through the most interesting of these sounds; almost cheesy, haunting flutes, smoothed out 8-bit arpeggios, and buzz-saws frantically jitter about in what the world of Tron actually (probably) sounds like.

Rhythm and groove are natural to Fuck Buttons, and the best (and shortest) tracks on Slow Focus prove it.

“The Red Wing” is an exercise in a groove as gritty as is it weird, where somehow chirping chimes and heavy distortion blend coherently. “Sentients” is both epic as a work of experimental electronica and as a hip hop-tinged lesson in industrial dance.

Slow Focus as a whole exists as a logical stop on the road that is the musical progression of Fuck Buttons—not a particularly noteworthy stop, but a stop nonetheless. While ambitious in its attempts to master sound and volume with sheer expansiveness, Slow Focus just doesn’t  command enough attention with dynamic variation that could have made it unforgettable.

Fuck Buttons – Slow Focus tracklist:

1. “Brainfreeze”
2. “Year of the Dog”
3. “The Red Wing”
4. “Sentients”
5. “Prince’s Prize”
6. “Stalker”
7. “Hidden XS”

DBridge, otherwise known as Darren White, kicks off his latest EP in an unconventional, albeit fitting way. The first track is a collaboration with DJ Skeptical, and the intro sample is abstract and oddly political. A man explains his investigation of colonialism and exploitation in Jamaica, which found him constrained by “spiritual vampires,” and the only thing that could bring him from this spell was for someone to yell, “Move your Bumbaclot!” With that, the 170 BPM madness begins.

For dBridge and DnB producers in general, the slow trajectory of a song is paramount. On “Plain to See,” electronic signals send between synthy hi-hat pulses in uneven ways that gradually smooth out as a groovy, 8-bit bass line moves its way in.

This slow walk through the electronic landscape of “Plain to See” becomes eerie when a distant, alien sounding drone works its way into the track. Sampled strings pluck and form a progression that wouldn’t be unwarranted in the poppiest of EDM tracks, but context is everything, and this chorus-like section certainly fits, especially with the little accenting beats that dBridge sneaks into the track.

“Plain to See” is a good composition, though it shades in comparison to the following track, “Death of a Drum Machine.” If this is the music marking the death of a drum machine, then that drum machine is putting up a fight. Unnerving chimes ring out over a sample of a man saying, “Too black, too strong,” and the breakneck beat jumps in. “Death of a Drum Machine” doesn’t stray far from the DnB formula, and it’s not dressed in high-quality samples or the usual trite trapping of modern dance music.

Much of electronic music today is glittering with perfect production and ends up overblown by trying to include the myriad competing ideas of what constitutes “good” electronic music.

Here we have dBridge crafting tracks like “Death of a Drum Machine” that are simple, yet still as fresh as they were when he began in 1990. However, dBridge’s minimalist method also runs the risk of being lackadaisical and drying up in repetition.

In spite of this, Move Way has some diverse moments in spite of having only three songs, and it’s all under the guise of smooth transitions and slow introductions.

Move Way is a solid release that serves its purpose as dance music, and dBridge stays true to his roots. What amounts from the countless wacky vocal samples, the choppy beat, and the driving bass is a super groovy album that’s steeped in “retro” electronics.

By some standards, Move Way is hardly innovative and forward thinking, though it stands above most electronic music by defying the current standard, even if it’s only supplanted with an old standard.

dBridge – Move Way tracklist:

1. “Move Way (feat. DJ Skeptical)”
2. “Plain to See”
3. “Death of a Drum Machine”

The Speed of Sound in Seawater, an independent math rock band from Elk Grove, Calif., plans to release its cleverly-titled debut LP First Contact on August 9. With four stellar EPs under its belt, the band had a lot to live up to when it finally set out to record its debut full-length—and by God, did it deliver.

First Contact will surely be a favorite among math rock fans and overflow to those who favor other genres, as well. With beautiful layers of guitar, incisive lyrics, and ingenious timing, this album has something to speak to everyone.

The album starts off with the gorgeous, H. P. Lovecraft-inspired track, “To Kelly Lee.” It’s the dark tale of two lovers who stumble upon ancient ruins, and the chaos that ensues.

This song might be lead singer and guitarist Damien Verrett’s best example of his skills as a songwriter on the album. As a lyricist, he’s capable of  portraying any mood he pleases. The calming beginning of “To Kelly Lee” picks up perfectly when the couple realizes what is about to happen, with the lyrics, “Gather yourself, I need you calm and collected,” placed so well on top of the quickened, anxious guitar.

With First Contact, the band switched singers for many of the tracks, and accomplished it beautifully.

For a majority of the group’s discography, Verrett has acted as the primary singer, but in this release the other two singers, Jordan Seavers and Luke Ulrici, really shine, both as vocalists and songwriters.

For example, in the second song, “Winter Solstice Baby,” both Seavers and Ulrici harmonize for most of the track to create a radiant, happy sound. It’s a playful, jumpy song that gets you up and moving, which is a new direction for The Speed of Sound in Seawater. It deviates more than any song the band has written to date, but falls right into place on this album.

“Opassa’s Grotto,” an unreleased song that was refurbished to fit on First Contact, is one of the best on the record. The cheery song about a group of friends hanging out by the water hits its peak around halfway through when it transitions into a loud, epic bridge. After a colossal breakdown of  the repeated line, “It must be the break of dawn,” the band kicks into one of the most prominent guitar solos on the LP before ending the track’s story with the unforgettable night sadly coming to an end.

Quite possibly the most surprising track on the album is Seavers’ “The Macabray,” which is a beautiful track composed entirely by the guitarist. It features woodwinds, violins, and piano, none of which are common for the band. It is by far one of the best and most unique songs on the album, leading to a different world that is separate from the rest of the tracks. The same goes for “Kid Ghost II,” also written by Seavers.

First Contact ends with a quirky track about coming across undiscovered land after being at sea,  then finding not-so-friendly inhabitants when searching the ruins found there.

This song, also inspired by the works of author H. P. Lovecraft, fitfully ends the epic journey the band ventures upon over the course of its debut, filled with strange discoveries, communication with the supernatural, and a little hint of the paranormal.

The old TSoSiS has officially come and gone, but this is not a bad thing. The once super-fast, untameable young musicians have matured and found an equilibrium that sets them apart in a growing genre.

First Contact is easily one of the most accessible math rock albums of all time, continuing the band’s run as one of the leaders of the indie scene. It has found the perfect blend of odd time signatures, subtle guitar shredding, and solid songwriting to make an instantly classic math rock gem.

The Speed of Sound in Seawater – First Contact tracklist:

1. “To Kelly Lee”
2. “Winter Solstice Baby”
3. “Anyanka”
4. “Apples to Apples Dust to Dust”
5. “Opassa’s Grotto”
6. “Lots of Love for Logan”
7. “The Macabray”
8. “Soulmate 2.1”
9. “Kid Ghost II”
10. “The Oddest Sea”

Bombadil, a folk-pop quartet from North Carolina, debuted in 2006. The band is aptly named after Tom Bomadil, an eccentric character from The Lord of the Rings whose whimsical nature hides his considerable power. Bombadil’s music, like its namesake, seems charmingly simple at first, but it has a certain elusive beauty.

Members Daniel Michalak, James Phillips, Bryan Rahija, and Stuart Robinson took a break from Bombadil after the well-received release All That The Rain Promises when Michalak developed neural tension in his hand, making it impossible for him to play.

Now, with Michalak’s pain under control, the band is gaining speed again with the release of Metrics of Affection. The album is beautifully soft and whimsical. At every turn, Bombadil shows another side of its many-faceted talents.

Almost every track has a rolling melody that easily hooks itself into the listener’s mind. The style could be considered too simplistic, yet it blends elements of folk and pop to perfection, resulting in a full, mellow and catchy sound.

Opening track “Angeline” has a lovely, dancing melody, with a poppy piano line played over a full-bodied mix of guitar and cello. The chorus, with its bright bursts of piano notes, almost sounds like a mellower version of The New Pornographers.

The group has garnered multiple comparisons to The Beatles, and a hint of Sgt. Pepper-era Beatles can be found in the next track, “Learning To Let Go.” The song starts with minimal instrumentation, but the chorus swells with guitar and trumpets. With each verse, a new element is layered on top of the music.

“Learning To Let Go” is the first in a line of ultra-catchy tracks that are sprinkled throughout the album, including “One More Ring” and “When We Are Both Cats.” These playful tunes are standouts that show off the best of Bombadil’s uplifting sound.

Metrics of Affection goes downhill slightly with the fourth song, “Isn’t It Funny.” The song is a swing and a miss. Early into the track, Michalak starts spitting a rhythmic spoken word verse that could be called rap if it weren’t accompanied by light folk music with a psychedelic ambiance. It’s certainly an interesting turn, and he does use a creative rhythm, but the transition to the lackluster chorus is awkward. It was a potentially compelling idea that fizzled out due to poor execution; it’s pulled off much better on “Escalators,” where the spoken word portion is shorter and transitions well into the rest of the song.

Bombadil’s only other fault is that even though three out of the four members take turns performing lead vocals, the differences aren’t immediately apparent; all the voices sound strikingly similar.

No matter who’s singing, the vocals are normally contained to a certain level of melodic softness, but they push the envelope on “What Does It Mean.” Robinson’s voice rings with emotion as he sings, “Baby, you were meant for me, but maybe I act differently from how you expected me to be.”

When he sheds the constraints of his pretty vocals, the result sounds refreshingly honest.

The music is significantly stripped down—the only accompaniment is piano—and the lyrics seem stripped down, too, to the point that they ring with truth. “What Does It Mean” is a beautiful standout track, and arguably the best on Metrics of Affection.

Bombadil’s music relies heavily on the stories told in the lyrics, but those stories deal with the everyday.  And while, like the music itself, they may initially seem too whimsical to be taken seriously, there’s often a message underneath. On closer inspection, the level of detachment that Bombadil maintains—not in a disinterested way, but simply by not taking itself too seriously—makes the message more relatable.

On “Thank You,” another piano-accompanied, classic pop tune, Robinson sings, “Take everyone you love and write them down/You might not want to tell all of them, ’cause that could weird some people out/but let them know you care, somehow.” “Thank You” ends Metrics of Affection on a sweet, completely unpretentious note and brings a satisfying end to the album.

Bombadil couldn’t have made a better comeback than this. Metrics of Affection is bursting with irresistible melodies, unexpected lyrical gems, and moments of profound honesty, all anchored by expert songwriting skills. It’s a quirky folk-pop beauty that should put Bombadil on everyone’s radar.

Bombadil – Metrics of Affection tracklist:

1. “Angeline”
2. “Learning To Let Go”
3. “Born At 5:00”
4. “Isn’t It Funny”
5. “Boring Country Song”
6. “Have Me”
7. “Patience Is Expensive”
8. “When We Are Both Cats”
9. “Whaling Vessel”
10. “What Does It Mean”
11. “One More Ring”
12. “Escalators”
13. “Thank You”

Grammy Award-winning folk-country duo The Civil Wars will release its self-titled sophomore studio album on August 6. The album sounds warm and their voices lead the show, defining a contemporary mixture of indie-folk and country.

The duo, with its intimate lyrics and impassioned harmonies (listen: “From This Valley”), is possibly one of the most accessible country acts of the decade so far. Scouted out by Adele in 2009, The Civil Wars joined her on both American and UK tours shortly after. They collaborated with Taylor Swift on a track for The Hunger Games’ soundtrack and have appeared as musical guests on prominent late night talk shows since meeting in 2008 at a Nashville musician writer’s workshop.

However, with directly opposite songwriting styles, members John Paul White and Joy Williams can’t seem to escape from the theme that their band name implies; they declared a civil war with each other in November of 2012, announcing a hiatus due to differences in personal ambition.

Williams and White have reportedly not spoken since, Williams commenting only minimally about the situation: “This is my life, and my life is on this album. And if you want to know what happened to the band, listen to the album.”

Talk about an (un)intentional promotional opportunity—a Google search of the band’s name will hand one headline after headline of juicy intrigue revolving the fall-out. The Civil Wars’ potentially short-lived existence is unfortunate in respect to its rapid rise to fame and the international fanbase that its recognition has accumulated; wasted potential looks good on nobody. What is it about the music that makes this hiatus particularly unfortunate, then?

The Civil Wars’ sound celebrates the duo’s Nashville origins, nurturing each other’s shared vocal dynamics and well-balanced dualisms. Listening for their complimentary perfection is consistently rewarding, while their musical style remains fresh and unconstrained. Williams places her previous pop recordings (“Sunny Day”) on hold for a deeper, homegrown sound in her venture with White.

The Civil Wars continues what Barton Hollow (2011) began: crafting a sound that unsuspectingly oscillates between traditional country and unique, often ominous tonal energies.

“Dust to Dust” switches between Williams, White, and their collective harmonies in the album’s gentlest soft-rock ballad—channeling the chemistry of Angus and Julia Stone and the lonely visages to which people all too often surrender.

The unexpected French song “Sacred Heart” graces us with simplicity and indulges our optimistic ignorance of the song’s meaning, leaving those without translating abilities the glory to imagine. Finally, a third acoustic folk ballad, “Disarm,” a cover and personalized tribute to The Smashing Pumpkins, follows the complimentary beauty of the 2011 Elliott Smith cover, “Between The Bars.”

Opening track “The One That Got Away” explores a powerful melancholy as Williams sings about wishing a serious relationship had stayed at a fresh and passionate distance. It opens the album with a sour taste for happy lovers and a familiar consolation for heartbroken singles. The subject of introspective struggles—civil wars—that exist within people continues in “Same Old Same Old,” a poignant story of leaving a partner you love and staying true to your pursuit of all things new.

The Civil Wars is rooted in Southern sounds and its music is an unavoidable reflection of this. Isolating the large metropolitan populations with distaste for that “country twang” are songs like “From This Valley” and “Oh Henry,” which extend with prolonged vocal dissonance and homogenous folk guitar strumming.

Although the band carries many distinguishable qualities, its audiences will remain in the world of country, as the genre is more specific than many musicians will allow themselves to admit. For the sake of a spin on country that feels fresh has already proven itself beloved, let’s hope that The Civil Wars reconcile their differences in pursuit of co-piloted, thematic remedies for the lonely and broken hearted.

The Civil Wars – The Civil Wars tracklist:

1. “The One That Got Away”
2. “I Had Me A Girl”
3. “Same Old Same Old”
4. “Dust To Dust”
5. “Eavesdrop”
6. “Devil’s Backbone”
7. “From This Valley”
8. “Tell Mama”
9. “Oh Henry”
10. “Disarm”
11. “Sacred Heart”
12. “D’Arline”

Who We Are, the new EP from Texas-grown rock band Flyleaf, features four live tracks and a studio track featuring Sonny Sandoval of P.O.D. It’s also the first set of recordings with Flyleaf’s new lead singer, Kristen May.

The first track, “Something Better,” features Sandoval’s vocals and borders on a duet. The two voices complement each other interestingly for a neo-metal band. The sweet lyrics of the chorus make the song seem somewhat romantic: “Aren’t we all trying to become something better?/Oh, whoa, don’t you know/Every time you take my hand, I become someone better/Oh, whoa, don’t I know.” The lyrics contrast with the sound of the jarring, gothic music in a way that is surprisingly uplifting.

Flyleaf’s sound is driven by an aggressive electric guitar and throbbing drums. May’s voice is high and feminine, but carries power behind it.

Who We Are, with the exception of one track, was recorded live, and this really displays May’s skill. Because each track most likely received less tweaking than if it had been on a studio album, the talents of each musician are especially apparent.

Of the live tracks, “Broken Wings” stands out. It starts slowly and softly as May sings, “Thank you for being such a friend to me/Oh, I pray a friend for life/And have I ever told you how much you mean to me?/Oh, you’re everything to me.” Gradually, the song’s intensity increases, both lyrically and musically; as the instrumentation develops, the content becomes more emotional.

While Flyleaf does not consider itself a Christian rock band, something its members have openly discussed before, their faith influences the music that they write. Who We Are has no explicitly religious lyrics or Biblical allusions; on the initial listen, the Christian undertones are not heard. However, with knowledge of the band’s beliefs, the positivity in many of the lyrics can be perceived as religiously influenced.

Flyleaf maintained its sound from its initial creation in 2007 and did not let the change in lead singer affect the spirit of the band. Flyleaf has a badass rock sound that is paired with Christian faith-infused lyrics. The juxtaposition makes the EP interesting, and May’s successful debut as the new lead singer makes Who We Are a solid addition to Flyleaf’s catalog.

Flyleaf – Who We Are tracklist:

1. “Something Better (feat. Sonny Sandoval)”
2. “Call You Out (Live)”
3. “Fire Fire (Live)”
4. “Broken Wings (Live)”
5. “Sorrow Option (Live)”