Welcome to The Indie Inspection!
In this monthly feature, I dive into new releases from a handful of artists that deserve attention. This regular column will take full advantage of the malleability of “indie” as a concept and aesthetic. That could mean lesser-known acts releasing their music either independently or on a smaller label. It could also refer to artistic vibes and approaches that fall outside of the mainstream. It might even mean nothing at all!
Leave your preconceived notions at the door, and let’s just listen to some music.
In the October 2022 installment of The Indie Inspection, we’re digging into some excellent releases that feel perfect for every possible autumn mood. I will examine some mature emo, heartfelt folk, chilled-out Aussie rock, peppy electro-pop, and high-quality electronic music. Let us know what you think about these new albums in the comments!
Alexia Avina – Crush EP (Lost Map)
High-quality electro-pop has experienced a grand resurgence over the past few years, and it’s not just because everyone spent 2020 and beyond inside because of COVID-19. The consistent improvement in both processing technology and synthesizer programs has made it easier than ever to make such music. You don’t need banks of expensive vintage equipment to craft loops, beats, and grooves for your songs.
However, it does help if you have an innate for creating tight pop arrangements and penning sensitive lyrics. This is exactly why the Crush EP from Alexia Avina rules. She delivers five delightful tunes that blur the line between sour-candy pop and experimental electro. It’s as if Charli XCX was hanging out with Sylvan Esso and Kaitlyn Aurelia Smith, right down to the deft blend of danceable yet ethereal.
Avina’s sweetly lilting soprano anchors the entire project. Sure, the synth pads gurgle atop minimalist bass lines and a clattering combination of snare claps and hi-hats. And yes, the broken arpeggios as distended melodic phrasings showcase her compositional flair. But it’s her voice that I keep coming back to, as it flits subtly between insular and expectant.
Bookended by the standout tracks “You” and “Let This Die,” the project serves as an emotionally resonant song cycle by an ascendant artist.
Alice Boman – The Space Between (PIAS)
While I’ve definitely come full circle on folky singer-songwriter fare in the past couple of years, I still prefer artists who push those sounds into other genres. Yes, you should be able to pen quality lyrics with the appropriate accompaniment, but I also need more than rote acoustic guitar balladry. Convince my ears that you have the actual songwriting chops by giving the music some necessary heft.
On her new album entitled The Space Between, Alice Boman delivers the goods. It’s enough to make me forget about the treacly Dave Matthews Band song of the same name. Across ten tracks that fuse hushed chamber folk with minimalist synth-pop, this enchanting Swedish songwriter offers up familiar sonic concepts with an authentically unique twist.
Boman possesses a breathy soprano that she wields to immense effect, even as the music itself is quite restrained. Spectral synth pads ooze and contort into the necessary melody chords, resulting in tender, welcoming arrangements. Echoing keyboard phrases dance with light string sections, and pulled-back guitar runs, while a limited rhythm section holds everything in place.
Complete with lyrical musings that are a fresh combination of romantic, poetic, and unafraid, the album conjures up comparisons to Sixpence None the Richer, Katy J Pearson, and Aldous Harding. My favorite songs display these elements in abundance, especially “Honey,” “Feels Like a Dream” (featuring guest vocals from Perfume Genius), “Where to Put the Pain,” and “Space.”
Mary Yalex – Sunset Stories (Sound as Language)
Few forms of electronic music hit my sonic sweet spot like the dreamy stuff that still retains just enough definition. While I certainly enjoy droning ambient music, I prefer the spacey stuff with some substance. Providing even the merest hint of rhythmic texture helps my brain identify that all-important anchoring mood.
That is exactly what Mary Yalex delivers across the whole of Sunset Stories. It’s a glistening 11-song project overflowing with experimental electronic elements that occasionally let some poppish melodic progressions influence the arrangements. I came away especially appreciative of how her songs possess a good feel for rhythm and pacing without relying on anything close to a standard 4/4 tempo.
As you might imagine by my description so far, the album employs ample synths, pads, and various effects, all coated in thick swathes of delay, echo, and tremolo. Yet, despite the overtly airy aesthetic of this record, it showcases plenty of movement. In fact, the record almost feels restless at times, even though it doesn’t possess any tangible anxious or nervous energy.
You can imagine Yalex exploring music-making on a golden September afternoon with Sarah Davachi, Laurel Halo, and Suzanne Ciani. Ultimately, the mood of this music could be best described as very summer-into-autumn, right down to the feelings of wide open spaces and swirling breezes. Check out “Stellar State One,” “Flash,” “Ocean,” and “Milky Way” to hear what I mean. A perfection selection for the Indie Inspection!
Mt. Oriander – Then the Lightness Leaves and I Become Heavy Again (Count Your Lucky Stars)
Fun fact! I want my emo to be emotional. I want to hear songs where the artists express their innermost thoughts and feelings with clarity and transparency. And it would be even better if they could do so while playing intricate melodies at curious time signatures that fall just outside of pop accessibility.
This is the milieu into which Mt. Oriander strides. The debut solo full-length from Keith Latinen, the frontman of emo icons Empire! Empire! (I was a Lonely Estate), packs a wallop straight from the heart of the second-wave emo. Across twelve delightful songs, Then the Lightness Leaves and I Become Heavy Again courses with snaking guitars, clean attack, and Latinen’s expressively tender tenor.
To be sure, this is grownup emo, even as hearts are worm firmly on sleeves, The aching lyrics discuss themes such as long-term relationships, parenting, and embracing maturity with a relatable sincerity. I’m also a fan of the jazz-inflected bass lines, stylized horn sections, and delicate drumming, as they combined to deliver the excellent range in terms of dynamics, tempo, and pacing.
With big nods to ‘90s scene stalwarts such as Braid, Mineral, Cap’n Jazz, and early Death Cab for Cutie, Mt. Oriander creates personable emo the whole family can enjoy. Dig into “What We Have Is You,” “We Measure Our Distance in Time,” “We Should Get Out of Here Before Something Goes Terribly Wrong!,” and “We Are Not In This Alone” to hear excellent examples of the band’s big heart and imaginative musicality.
Ocean Alley – Low Altitude Living (Self-Released)
When I started the Indie Inspection, I made a realization. At this point in my life, I think I’m rather immune to most guitar rock. I still love the stuff – and listen to plenty of it – but it needs to work extra hard to capture my attention. That’s probably because guitar-based music is over-represented in both my musical education and the western musical canon. It’s not that rock music doesn’t exist, but more that it’s outweighed by the preponderance of average stuff.
Thus, I found myself suitably impressed by the grooving sounds of Ocean Alley. This Australian sextet creates clean, chilled-out rock with equal footing in psych and power-pop. Low Altitude Living provides a sparkling combination of ‘70s country rock and ‘10s dad rock while never shying away from crisp execution.
It all starts with the gorgeous pipes of Baden Donegal and how his beached-out tenor sells the entire project. I’m also partial to how Mitch Galbraith and Angus Goodwin develop such sweetly intertwining guitar melodies without bowing to obvious jam band cliches. Moreover, the smooth bass runs and supple drumming help the music avoid tipping headlong into either Eagles or yacht rock tropes.
If you’re in the mood for sparkling rock that hearkens The War on Drugs, Dire Straits, INXS, and Kurt Vile, then I recommend you give Ocean Alley several spins. Start with “Double Vision,” “Touch Back Down,” “Deepest Darkness,” and “Lapwing” if you need more proof.
Pablo Nouvelle – Vulnerability (Armada Electronic Elements)
I came to electronic music in the mid-’00s because I was enchanted by the various ways that technology could be used to create music. I wasn’t into club culture, I didn’t like to dance, and I rarely saw DJs spin live. For me, it was more about how it made me feel and sparked my imagination, and I remain drawn to producers and electro-artists who enjoy trying new things.
That’s why I found myself instantly drawn to the work of Pablo Nouvelle. On his new album, Vulnerability, he dishes up 14 tracks of classy, cinematic dance music, complete with darkly brooding edges. Downtempo energy is the name of the game, but the songs never feel isolated or reserved. Instead, they are relaxing and refreshing, thanks to a superb mix of danceable grooves and moody textures.
Think of it as a delicious fusion of Italo disco and Balearic pop. Nouvelle crafts wave after wave of sublime beats and loops that are then connected to warm synth pads. The album represents a wonderful blend of the last 20 years in electro-production without feeling frenetic or that he couldn’t pick a single sonic lane.
Ultimately, this album made me very happy, right down to its penchant for ambiance and the dance floor. If you like electronic music in the vein of Vangelis, Lindstrom, or Jamie xx, you should love selections like the title track, “You Make My Days Better,” “Lovesongs & Sextapes,” and “La Busca.”
For previous installments of Indie Inspection, check the Indie Inspection archives!