Welcome to “The Indie Inspection!”
In this monthly feature, I dive into new releases from a handful of artists that deserve attention. In fact, the 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.
March Has Arrived!
Yes, at three months into the year, the music calendar is finally in full swing. The Indie Inspection inbox veritably blew up this month with all of the new music being released. Yet, for all of the excellent albums I did receive, the six acts in this installment of my column absolutely stood out from the pack. Get ready to learn about two fantastic pop acts – one a bit more psych, the other a bit more folk – an outstanding hardcore band, a thoughtful singer-songwriter, and two experimental electronic artists. If you’re in the mood for records that move your feet and your soul, then you’re definitely in for a treat.
Alex Vargas – Big Big Machine (Stellar / Embassy of Music)
Ever get the feeling that you might have grown out of a certain genre only to get pulled back in when you least expect it? That’s happened to The Indie Inspection several times in the past few years, mostly involving artists evoking classic pop and singer-songwriter vibes. I’m not talking about mere poptimism. I’m talking about the intersection of Brill Building and Laurel Canyon artistry – the sort of stuff that sparkles in your ear while also challenging your brain.
The next entrant on that list? The uber-talented Alex Vargas. On his new album entitled Big Big Machine, he cooks up a heaping serving of radio-friendly pop seasoned with quirky psych ideas. The eleven-song project showcases a clear tenor with obvious blue-eyed soul energy, but his penchant for balladry avoids obvious cliches, aiming instead for relatability and nuance.
I would actually listen to terrestrial radio more often if they played the sort of music created by Alex Vargas. Think of it as The Weeknd goes yacht rock. I also hear strains of Destroyer or Twin Shadow aiming for a chart-topping pop hit. The songs are flirty, fun, and engaging, right down to the agreeable arrangements and subtle sensuality. Check out my fave tracks – “Mama, I’ve Been Dying,” “Pages,” and “Shine Your Way Out” – to hear what I mean.
Gel – Only Constant (Convulse)
It’s easy for me to think that I’ve aged out of punk and hardcore. I mean, my knees and back start hurting just thinking about standing on a concrete floor in a dingy club, much less getting into any sort of pit. Then again, the older I get, the more I wish I’d done more with my own youthful angst. I probably have more righteous fury flowing through my veins as a 40-something dad, but I don’t have the energy to do anything at the end of the day.
That’s exactly why Indie Inspection will continue to support the music of bands like Gel. This rambunctious quintet recently released their brand-new album, Only Constant, and it overflows with rip-roaring passion and heart-on-the-sleeve lyrics. Across 10 songs in just 16 minutes, we’re treated to throat-shredding vocals, whipsaw guitars, gnarly bass, and furious drumming.
The entire project gives me huge Black Flag and Husker Du vibes, but not in some generic paint-by-numbers, young-kids-in-a garage sort of way. The band is very self-aware and intentional with everything they do, including their socially conscious lyrics about love, identity, politics, and more. It definitely helps that the arrangements embrace natural syncopation and authentic tempo shifts, thus avoiding any hint of genre formula. I’m simply in awe of what this group has created, especially on tracks such as “Fortified,” “Attainable,” “The Way Out,” and “Composure.”
Jesse Blake Rundle – Next Town’s Trees (Self-Released)
Well, well, well. It’s another indie folkie intent on making me pay attention to classic singer-songwriter fare. I’ve talked before about my past aversion to such artists, mostly because the gap between the greats and the above-averages feels much larger than in most genres. If you’re gonna strum on an acoustic guitar and warble about your feelings, you’d better come with your best stuff. If not, I will shunt you directly to the nearest coffee house open mic night and forget you ever existed.
That will not be the case for Jesse Blake Rundle. This thoughtful singer possesses a plaintive tenor and wraps it in artful arrangements. On Next Town’s Trees, he combines inverted melodic structures with heaps of syncopation that easily keep the familiar folky elements at bay. It also helps that he assembles horns, woodwinds, and strings to provide lovely accompaniment that supports his gentle guitar work.
His music sits comfortably in the middle of a “vibes and craft” Venn diagram. Thanks to a wonderful grasp of dynamics, Rundle is unafraid to experiment with sounds and sensations. Thus, he creates tunes that alternately groove, wander, and meditate without any stylistic cheese. If you’re in the mood for a singer who calls to mind a curious fusion of Neil Young, Iron and Wine, and Devendra Banhart, you should listen to “Fools and Ghosts,” “Yes, I’m Angry,” and the title track.
Lia Kohl – The Ceiling Reposes (American Dreams)
Here’s a bit of fun writer transparency for you: I love listening to ambient music because I also enjoy the challenge of describing it to readers. It’s one thing to talk about punk, folk, or even electronic album because most people have a relative frame of reference for those genres. It’s something else to discuss how nebulous collections of seeming noise can coalesce into a full-fledged song that often doesn’t even have a steady tempo.
Hence, Indie Inspection jumped at the opportunity to talk about The Ceiling Repose, the new album from Lia Kohl. Across seven mesmerizing and meditative tunes, this talented artist creates a crinkly and creaking brand of ambient that captivated my ears. Despite the lack of any overt melody or obvious structure, I found it easy to bask in her complete musical thoughts.
Yes, listeners must be willing to navigate these compositions’ various twists and turns. Thankfully, she effortlessly cobbles together heaps of synths, samples, and spoken word snippets without the overlapping sounds collapsing into each other. The result is a curious blend of naturalistic and foreboding, stylistically akin to strolling through the woods at dusk. You know that night is approaching, but you also don’t feel rushed to get back home. I recommend exploring “when the glass is there, and water,” “or things maybe dropping,” and “became daily today” to better understand the interwoven intentionality of Kohl’s style.
Ohr – Luma/Chrome (Sound as Language)
I’m a dedicated fan of engaging electronic music quietly designed for people who do NOT like to dance. It’s not that I don’t want to dance. It’s more than I don’t like dancing. I don’t feel comfortable doing it. Thus, I find myself attracted to artists who know how to create tight beats and quality grooves that sit just outside typical four-on-the-floor bops. Yes, I want a solid rhythm, but you need to show me what you can really do with it.
So, color me impressed by the work of Ohr, the stage name of George Cory Todd. Across eight slick slices of cryptic electro, Luma/Chrome exults with taut snare claps and glitchy breaks that never tip into rave territory. Banks of floating synth pads sit just off the beat to create a discordant yet appealing listening experience.
The mood is alternately dreamy and tech-y with a relaxed flow and sumptuous energy that calls to mind a deft melange of late ‘00s Moby and late ‘10s Four Tet. I especially enjoy the clean, kinetic feel of the project, as it would somehow be perfect for either 3 am or 3 pm. With highlights including “Titleist,” “Crossfade,” and “Fix Two Points,” this fantastic producer has delivered an imminently enjoyable album.
Wild Child – End of the World (Reba’s Ranch)
The idea of indie-pop has quickly run its course in my musical palate. I know what those genre signifiers are supposed to represent, but they also don’t mean anything. At best, these artists create upbeat, guitar-first tunes with classic arrangements and a quirky personality. At worst, you get a band that exists solely on vibes while trying and failing to both Belle and Sebastian and The Strokes. I’m not saying that the good stuff doesn’t exist, but my threshold for what constitutes “good” gets higher every year.
Well, Wild Child has exceeded that threshold by leaps and bounds. This Austin duo has whipped up a terrific new album called End of the World. They deliver outsized ‘00s indie-pop energy without any twee or cutesy effect. Across twelve zippy tunes, listeners enjoy fun, fresh, and folky music created by acoustic guitars, accessible keyboard melodies, and familiar rhythms.
Kelsey Wilson’s warm alto carries the project. Her strong voice conveys heart and depth as she sings about love, relationships, breakups, and romantic disillusionment. Yes, that is well-trod lyrical territory, but Wilson fuses relatable whimsy with wry sarcasm to brilliant effect. Overall, the record sits at the intersection of Margo Price, Kacey Musgraves, Jorja Smith, and Arlo Parks. That’s how it avoids the traditional trappings of indie pop. If you need proof of my claims, head on over to “Cheap Champagne,” “Dear John,” “Sleeping In,” and the title cut to learn more.
Thanks for reading The Indie Inspection!
Check out all the other wonderful artists we’ve covered on our column’s archives page.