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.
Wow! The last few months have flown by, and they’ve been packed with wonderful music. Fall 2022 has been simply stellar in terms of noteworthy releases. That’s the hardest part about this column – sifting through some really good albums to ensure I find the best stuff. Then again, that’s the goal of the column: to help people with their musical exploration by sharing the best records that come through my inbox.
For the November 2022 installation of The Indie Inspection, we’ve got four righteous act brimming with various iterations of rock goodness. Get ready to treat yourself to some bright indie-pop, country-psych, soulful rock, and buzzy power pop – complete with some of my musical confessions.
Bleach Lab – If You Only Feel It Once EP (Nettwerk)
Confession #1: This five-song Bleach Lab album hits me right in my sweet spot. The band’s brand of shiny pop is one of my favorite kinds of music. It’s perfect for air guitar, you can understand the vocals, the songs make you smile, and the arrangements are just off-kilter enough that your ears are challenged a bit.
Throughout If You Only Feel It Once, the London quartet veritably bowls you over with the shimmering sounds of ‘90s college rock. Lead singer Jenna Kyle possesses a luxurious alto voice swimming in understated elegance. I’m enamored with clean guitar licks of Frank Wates, especially his ability to create tones and textures that act like harmony vocals. Moreover, Josh Longman on bass and Kieran Weston on drums create a near-perfect indie-pop rhythm section, complete with crisp snares that sit just off the beat and bass lines that thrum with energy.
We’re talking about big choruses and swirling verses that show just enough restraint to keep the band honest. Standout tunes like “Take It Slow” and the title track feature dreamy aesthetics that manage to be direct instead of delirious. If you’re looking for the next iteration of acts like Alvvays, The Beths, and Camera Obscura, you must check out Bleach Lab.
Breanna Barbara – Nothin’ But Time (Fuzz Club)
Confession #2: I had to restructure my Best Albums of 2022 list when this record hit my ears. Nothin’ But Time by Breanna Barbara delivered the sort of gritty indie-psych album that sends chills up and down my spine. The album conjures up this rare blend of country rock, “Wall of Sound” pop, and goth that I found absolutely enthralling.
For starters, Barbara has this spectral alto that still retains mountains of heft despite being soaked in layers of echo. Not only is the hub around which all the other instruments turn, but it’s the sort of voice that could be even more powerful with the studio effects and full band removed. She has both fantastic pipes and superb sensibilities so that she knows exactly when to belt, when to coo, when to cajole, and when to relax.
It helps that the supporting music totally kicks ass. Tremulous surf guitar textures trade off with brooding rock crunch, while warbling bass phrases provide eerie presence. Indie Inspection is also a fan of the smart drumming that knows how to keep a tight groove without ever overstaying its welcome in the arrangements.
Barbara really knows how to create a thoughtful and intentional listening experience, right down to the album’s track listing. “Landslide,” “Rise,” and “Me Too” are highlights of the opening third, while “Weaning” closes Nothin’ But Time in style. But the chilled-out middle third stands out with its ability to provide the necessary space and contrast. Fans of Sharon Van Etten, Vivian Girls, and the Zombies need to buy this record.
Elizabeth Moen – Wherever You Aren’t (Self-Released)
Confession #3: I initially didn’t want to listen to this album based solely its cover. The aesthetics struck me as the work of a milquetoast Lana Del Rey existing solely on vibes. Instead, Wherever You Aren’t kicked my ass and smacked me upside the head with a raucous, soulful brand of Southern rock. I couldn’t have been more wrong or misguided, and the admission filled me with some considerable shame.
Elizabeth Moen completely delivers the goods with an expressive, rangy alto that’s utterly intoxicating. Her songs overflow with a heady brew of ‘70s AM rock, gritty alt-country, and Muscle Shoals pomp. The nifty guitar work offers up some nice crunch, deft leads, and sublime flair – without overtaking the vocals. The rugged rhythm section alternately shambles and shimmies, all while creating a sense of palpable urgency and keen emotion. And I shan’t forget to mention the horn sections and organ swells that make their respective appearances right when the music needs it most.
This album rules – from top to bottom. Throughout Wherever You Aren’t, Moen and her classic torch singer voice wholeheartedly embrace emotion and drama. Standout songs such as “Synthetic Fabrics,” “Where’s My Bike,” “Differently,” and “You Know I Know” reflect an amazing feel for tempo and tone shifts that keep you guessing and hold your attention. If you’re in the mood for Lucinda Williams, Heartless Bastards, Yola, and Alabama Shakes, then you should get this album on vinyl immediately.
I just hope Elizabeth Moen can forgive Indie Inspection for our incorrect initial impression of her music.
Pohgoh – du und ich (Spartan)
Confession #4: I like the idea of power-pop a lot, but the vast majority of it all sounds the same. Thereby, you have to do something special to make an actual impression in my ears. And dear reader, Pohgoh definitely has. From the band’s buzzy guitars and bright drums to Susie Ulrey’s beautiful mezzo-soprano lead vocals, du und ich showcases superior ‘90s emo energy by openly acknowledging its stylistic influences.
This Florida quartet knows where its bread is buttered – vintage quiet-loud-quiet-loud arrangements with kitchen-sink lyrics pulled right out of everyday life. However, they skillfully subvert sneaky sonic snares by embracing timely tempo changes in the pre-choruses and bridges. The melodic hooks show up early and often, serving as a steady conduit for peppy rhythms and zippy pacing.
I wanted every possible amount of fuzzed-out guitar and over-the-top energy that Pohgoh could give me. Tracks such as “Over-Under,” “Hammer,” and “Heavy” had me bouncing in my chair with glee, hearkening back to my early 20s bopping around the pit, singing along with the band at the top of my lungs. Fans of Superchunk, Superdrag, Pavement, and Veruca Salt should supremely enjoy every note of du und ich.
Stay tuned for the December 2022 installment of The Indie Inspection.
We’re gonna round up our favorite albums that didn’t quite make our Top 22 of 2022 list.