Welcome to “The Indie Inspection!”
In this monthly feature, I dive into new releases from a handful of artists that deserve attention. In fact, APN’s Indie Inspection 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!
My advice? Leave your preconceived notions at the door and just listen to the music.
Happy February, dear readers!
I hope you’re ready for an action-packed edition of The Indie Inspection, complete with some truly outstanding music. We’ve got two different country artists on tap whose music would make my parents two-step around the room. We’ll also enjoy a couple of inventive pop acts with strong penchants for melancholy romanticism. And our ears will be scorched by two bristling rock outfits representing two major strains of post-punk energy.
Let’s get into it!
Benjamin Dakota Rogers – Paint Horse (Good People Only)
I usually arrange Indie Inspection artists in some sort of alphabetical order, most because I don’t want to play favorites. But this month, it just so happens that my favorite album sits at the top of the list. If you have any interest in classic country, vintage folk, or high-end storytelling, then you will immediately fall in love with the music of Benjamin Dakota Rogers.
Throughout Paint Horse, he delivers an exemplary brand of expressive minimalism. Rogers plucks out simple, yet gorgeous folk tunes on just guitar and violin, but the effect is intoxicating. It helps that this twenty-something possesses a preternaturally world-weary voice abounding with age and experience. He then pens lyrics that call to mind the short stories of Denis Johnson in depth, heft, and anguish.
Whenever critics employ the term “singer-songwriter,” they should be referring to this absurdly adept Canadian artist. He stands tall in the lineage of Townes Van Zandt, John Prine, and Gillian Welch – earnest, never saccharine singers who prefer pathos to passion. His music feel familiar, yet totally fresh, which I attribute to his ability for matching vocal delivery to the exact right song. Led by stellar tunes such as “John Came Home,” “Back to You,” “Greyhound,” and “Rosie, this album has quickly become one of my favorites in 2023.
Cor de Lux – Media (Self-Released)
Few forms of rock music still hold my attention like post-punk. The genre possesses this near-infinite form of plasticity in terms of tone, shape, and style that few others can match. It allows bands to dip their toes into various sub-genres and artistic expression while still maintaining a recognizable center. Even acts with remarkably short shelf lives have been able to pursue malleable permutations that showcase their talent and creativity.
Cor De Lux step into this milieu with a resounding confidence and yearning for acclaim. On their new album, entitled Media, the North Carolina quartet effortlessly blend fuzzy, bleary-eyed post-punk with sweet shoegaze sensibilities. The ten-song project had me imagining a dexterous dance between A Sunny Day in Glasgow, Ride, and Esben and the Witch. It’s a brand of lush, dreamy rock that tips its hand toward slow-burning goth goodness when you least expect it.
The foundation of the group’s sound rests in the syncopated drumming of Thomas McNeely and sturdy bass work of John Bliven. Then again, it’s the speak-sing alto vocals of Dawn Moraga that will hold your attention, but don’t forget the excellent tenor counterpoint provided by Tim Lusk. Tying it all together are the snaking guitar lines crafted by Moraga and Lusk, especially the alternately rippling and snarling energy of their licks. If you need any further convincing, go check out my favorite tunes: “Snap Out of It,” “Syncopated,” and “The Grey.”
Lowly – Keep Up the Good Work (Bella Union)
Unlike post-punk’s capacity for adaptation, indie-pop typically needs to be much more careful when reaching across genre lines. In the wrong hands, it can become weak, tepid, and altogether boring – mostly an amalgamation of ideas instead of a clear statement of intent. But if the right sort of band comes along matching talent with ideas, then your ears are in for a treat.
That’s definitely what we get from Lowly and their brand-new album, Keep Up the Good Work. The Danish act fuses bubbly indie, dreamy Baeleric pop, and thoughtful trip-hop across fourteen songs packed with deep emotional catharsis. It’s like Björk, Beth Gibbons of Portishead, and Feist decided to create a pop band.
The warm alto of Soffie Viemose sits front-and-center in the mix, as her expressive range guides the listener through the song’s tumultuous twists and turns. I thoroughly enjoyed the clean and deliberate production aesthetic of Anders Boll. By ensuring the music had room for experimentation, he gave Viemose’s voice ample space to work its magic. From there, supple drum programming enters the mix, complete with suave electronic effects that balance out the glittering waves of synth pads.
For all of the overt pop sensibilities on display, the album overflows with a deep aching and resonant longing. The project is very much “anti-vibes,” as it prefers to reveal its big feelings and discuss its big meanings openly. I recommend starting with “Seasons,” “You are Good and I Love You,” “The We The You The I,” and the title track to understand what I hear.
M(h)aol – Attachment Styles (TULLE Collective)
Then again, Indie Inspection also loves aggressive post-punk that snarls in your face and begs you to snarl right back. It’s the sort of take-no-prisoners rock born in art school yet raised on the streets. In this world, the rules are guidelines at best, and they’re typically used as examples of what not to do when making music.
M(h)aol stands a fresh-faced example of that spirit in action. The Irish-British quintet has released a fantastic new album called Attachment Styles filled with a unique blend of grimy post-punk and grotty blues. The 10-song project absolutely trembles with raw rock energy and honest sexual politics. It gleefully revels in its snarky apathy, but not in a post-ironic way.
The gritty, distorted production is designed to annoy the listener, and I absolutely love it. Calling to mind a rich combination of The Fall, The Kills, and early Savages, the rumbling guitars and sludgy bass sneer with abandon. Moreover, the disaffected drumming delivers a delicious discomfort as the songs occasionally feel like they’re falling apart at the seams. Yet, it’s the wry vocals and matter-of-fact lyrics of Róisín Nic Ghearailt that set the band apart from its contemporaries, as she channels No Wave for a new generation. Take a listen to “Noone Ever Talks to Me,” “Therapy,” “Nice Guys,” and “FEMME” for proof.
mmeadows – Light Moves Around You (Self-Released)
My own embrace of poptimism several years ago came courtesy of acts that merged artistic integrity with emotional intelligence. I found myself entranced by ebullient, danceable grooves that conveyed believable feelings and perspectives. Exploring such music with an open heart and ears has helped me to embrace acts I would have rejected at face value in my 20s and early 30s.
Take mmeadows for example. This talented two-some has delivered a superb new album called Light Moves Around You that smashes shiny sentiments into melancholy moods with a deft determination. Subtle musicality provides the bedrock of this project. It’s accomplished art-pop that calls to mind Annie Lennox, Sinead O’Connor, Caroline Polachek, and Ariana Grande.
Kristin Slipp (who often sings with the current iteration of Dirty Projectors) possesses sublime vocals that reveal their power via tone and depth. Cole Kamen-Green concocts a tasty brew of catchy beats, sparse strings, silvery bass licks, and quirky effects. His taut production values merge with restrained arrangements to deliver balance that both amplify and complement Slipp’s voice. If you’re in the mood for off-kilter pop that can still entrance and enchant, I would suggest exploring songs like “Baby-By,” “When We Are Together We Are Really Free,” “Fall Asleep,” and the title track.
The Shootouts – Stampede (Soundly)
Nothing sends my nostalgia centers into overdrive like hearing the sort of country music my parents played during my childhood. They loved to embarrass my brothers and me when our friends visited by putting on some Texas swing or ‘70s outlaw country and dancing around the living room. As I got older, I gained a more nuanced appreciation of those sounds, but I usually compared it to my musical memories.
Which is exactly why the Indie Inspection fell head over heels for The Shootouts. Hailing from Akron, OH, this rambunctious quartet create outstanding vintage country that doesn’t feel cheap or pandering. On their third album, Stampede, they channel Asleep at the Wheel, Bob Wills, and the Nitty Gritty Dirt Band with tremendous energy and musicianship.
It all starts with the classic reedy tenor of Ryan Humbert, especially how it dances with the background vocals of Emily Bates and the shuffling drumming of Dylan Gomez. Brian Poston’s terrific lead guitar work injects heady warmth especially when combined with the boisterous bass lines of Kevin McManus. Ray Benson of Asleep at the Wheel offers both keen production guidance and guest vocals, and other fun guests include Marty Stuart, Buddy Miller, Raul Malo, and Jim Lauderdale. Fans of sharp, fun-loving country music should love this album, especially tunes such as “Better Things to Do,” “One Step Forward,” and “Must Be a Broken Heart.”
Thanks for reading The Indie Inspection!
Check out all the other wonderful artists we’ve covered on our column’s archives page.