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 takes 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.
For the June 2023 installment of Indie Inspection, we have two excellent indie-pop acts, two special folk singer-songwriters, a slacker psych outfit, and a quirky electro producer. Just some all-around good music with deft lyrics, strong hooks, and outstanding arrangements. Sometimes, you don’t need anything more than that. Give me music that trims the fat and instead aims to actively engage my ears.
Then again, choosing only six albums to write about this month was more difficult than expected. Yes, I could have picked MORE than six. This is my column, after all. I prefer the challenge of sifting through the submissions to find the absolute best stuff for my readers. What I’m really looking for each month? The artist who compels me to add a seventh album. Make me break my system!
Whew! Enough of that. Onto the music!
Big Liquid – Loose Corner EP (Sound As Language)
I don’t ask for much when it comes to contemporary electronic music. Or maybe I ask too much. I’m not looking for the latest and greatest production tricks. And I don’t want avant-garde rhythms and otherworldly syncopation. I just want music that makes me feel. It can be ambient classic, four-on-the-floor bangers, or dusky vibes. But it has to conjure up some emotions.
Luckily for me, Loose Corner by Big Liquid gives me what I need. This five-song EP features found sounds and vocal snippets layered over skittering beats and spaced-out grooves. The brainchild of Keenan Novi, the music showcases a keen predilection for exploring space and movement, especially in its use of thick bass and textured effects.
Yes, the songs possess a robust inclination for curious time signatures and tempo shifts, but the overall pace could be best described as languid. Standout tracks “Been Upside Down for Hours” and “Local News” quiver like moody molasses, but you never feel trapped. By eschewing traditional melody, the lack of overt dance ideas actually gets your body moving. Thus, the overall flow of the project creates a sense of low-stakes tension and drama that I found wonderful.
Clara Engel – Sanguinaria (Self-Released)
Indie Inspection raves about ambition often. In a music industry overflowing with cookie-cutter indie rock and paint-by-numbers chill beats pop, I want all of the awkward experiments possible. While I’m certainly not looking for half-baked notions or unfulfilled expectations, I definitely want to hear from more artists who are actively pushing on the barriers with their ideas.
That’s what I hear in the music of Clara Engel. They create minimalist folk with compelling intimacy that reminds me of sublimely spooky campfire music. Their latest album, called Sanguinaria, offers elegiac moods by fusing creeping acoustic instrumentation with a haunting alto. These ten songs have the vision of Kate Bush, the emotional awareness of Joni Mitchell, and the off-kilter energy of vintage K Records bands.
Engel knows exactly how to craft the necessary bed of echoing strings and electronic pulses to shepherd the plucked acoustic guitar melodies. I’m thoroughly enamored by how this album possesses such dreamy vibes but delivers them with such icy intentions. If you’re in the mood for artful folk music packed with ghostly storytelling, you should definitely check out songs such as “Poisonous Fruit,” “The Snake in the Mirror,” “Bridge Behind the Sun,” and “Larvae.”
Gringo Star – On and On and Gone (My Anxious Mouth)
The flip side to unabashed ambition is the musician who knows exactly who they are. They exude confidence in their skills, which provides a strong tether when or if they decide to experiment a bit. Fans have a clear idea of what to expect from the artist’s sound, but they also know it won’t be the same all the time.
Atlanta, GA outfit Gringo Star has settled into such a groove at this point in their career. Their new album called On and On and Gone reveals a band basking in its preferred brand of slacker psych. For the uninitiated, it’s equal parts ‘60s garage rock, ‘70s country rock, and ‘00s indie. The ten songs project a delightful warmth that has me imagining an optimistic version of Bright Eyes, Kurt Vile, and Phosphorescent.
It all centers around the decades-long friendship between brothers Peter and Nick Furgiuele. They have a fantastic knack for appealing song craft with laconic energy. Yes, vibes are definitely laid back, but the arrangements themselves are remarkably tight. I particularly dig the layers of echo on the lead vocals and the sturdy rhythm section. Check out “Told Me Once Before,” “Get to Know You,” “Good Things Come in Halves,” and “I’d Find You Again” to hear exactly what I mean.
Johanna Heilman – When We Were Electric (Self-Released)
It’s time for the semi-regular singer-songwriter segment of Indie Inspection! I really do like finding artists who actively challenge my preconceived notions about the genre. Even better, I don’t need people who want to completely blow up established ideas. I’m much more interested in thoughtful reinvention that respectfully works inside old ideas and forms.
This brings us to the music of Johanna Heilman. This talented musician has made a strong career for herself playing solo and in bands around Austin, TX for many years. On this debut album called When We Were Electric, listeners are graced with a wondrous brand of sparse folk performed mostly with vocals and electric guitar.
The album spends much of its time conveying very personal lyrics about Heilman’s own life, especially her recent battle with and recovery from breast cancer. She emphasizes clarity of tone and production that hearkens back to ‘70s Texas folk singers even as she sings over looped guitar phrases. The music shines because of sublime melodic phrasing that embraces minor key progressions while avoiding root chords and generic strumming. I would describe it as a refreshing blend of Angel Olsen, Cat Power, and Bill Callahan, especially on the title track, “Anesthesia,” “Party Time Sexy Dance,” and “Kick and Cry.”
Sleepy Gonzales – Mercy Kill EP (Light Organ)
I’m an absolute sucker for indie-pop with girl-guy vocals, especially when the harmonies are on-point. They add a level of craft and depth to what could be an average pop song. Maybe it’s the charm or the implication of romance, but I simply enjoy voices that sync up well together, especially when paired with a delectable minor key melody.
Sleepy Gonzales delivers such sensations with attitude and aplomb on the Mercy Kill EP. This new five-song project delivers dreamy alt-pop reminiscent of Alvvays and Mates of State. These big and buzzy tracks are packed with a sweet sincerity that’s never twee or cloying.
The British quartet creates straightforward tunes on keyboards, drums, and guitars, complete with organic shifts in volume, tone, and direction. I especially enjoy how the seamless dynamic modulations represent the vocal talents of Ally Lowry and the compositional skills of her bandmates, brothers Beni and Cristian Hobson-Dimas and Nick Moniz on bass. Pay special attention to “Destroyer” and “Freaking Out” to hear the band’s best work on display.
Special Friend – Wait Until the Flames Come Rushing In (Skep Wax)
Oh, look! More excellent indie-pop with delicious guy-girl vocals. Much like my musical tastes in general, Indie Inspection likes bands that find inventive ways to use their harmony vocals to maximize the music instead of simply recreating the wheel. That’s the fun of working with established elements – you can tweak them to fit your band’s needs.
Special Friend definitely knows how to embrace the concept of harmony vocals with a personal twist. On the French duo’s new album, entitled Wait Until the Flames Come Rushing In, Erica Ashleson aligns her warm voice with the thoughtful pipes of Guillaume Siracusa to deliver beachy bliss. This ten-song project swims in chilled-out vibes that are themselves inverted with high-quality guitar jangle.
It’s bittersweet excellence without a drop of saccharine added. Imagine Camera Obscura, REM, and Cocteau Twins penning clear-eyed pop ditties bereft of metaphor. I especially enjoy the twosome’s ability to write earnest and relatable romantic tunes without dipping into cliche or affect. I encourage digging into “Silver Lime,” “Inertie,” “Ami Special,” and the title cut to better understand the band’s overall oeuvre.
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Thanks for stopping by to read The Indie Inspection for June 2023. Be sure to check out our archives for more of my recommendations.