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.
Fall has arrived! Technically.
Here in Texas, we’re still battling daytime highs in the 90s on a regular basis. Then again, I guess that’s better than the three prior months where temperatures exceeded 100 nearly every day.
But enough about the weather. It’s time to talk about the music. As long-time followers of music industry shenanigans know, September and October of each year bring with them an overabundance of new albums. This happens for two specific reasons.
- It’s easier to market music after the bulk of the festival season has concluded.
- You want to get albums out well before December (and even November these days) to ensure consideration for those ever-important end-of-year lists that everyone seems to love AND hate.
Thus, I had my work cut out for me this month.
Nevertheless, after sifting through all manner of talented artists across a range of genres, I made my selections. Lo and behold, it’s heavy on the folky country side of the spectrum. I’m talking about four spectacular singer-songwriter types plus a raucous ‘90s alt-rock act and an ‘80s power-pop group.
Let’s go!
Grrrl Gang – Spunky! (Kill Rock Stars)
Indie Inspection will never get tired of spirited guitar rock. I especially love it when a young band knows how to have fun and represents their influences. Gimme all of it: The hooks, the verve, the drama, the passion. Sure, I love inventiveness and creativity, but I also the sound of youthful rebellion. It’s the stuff where you can literally hear the speaker fuzz, cymbal crashes, and rumbling bass echo off the walls of a suburban garage.
Holy shit does Grrrl Gang rule. On their full-length debut album, entitled Spunky!, this delightful Indonesian group delivers a brand of frenzied alt-rock that has me pining for my college days. And if the band’s naming conventions aren’t already an indication of their style, you’ll immediately hear it in the music. I’m talking about sassy, smart, no-frills sonic goodness that merges ‘90s riot grrrl angst and ‘60s girl group romanticism with unfettered glee.
It helps that the group is in on its own joke without being meta or annoying. They’re aware that idiot critics like me will gush about comparisons to Bratmobile and The Ronettes while they’re sneaking in ample amounts of Hole, Be Your Own Pet, Joan Jett, and Tony Molina. It’s the sort of sweetly caustic album that will have my kid and me pogoing around the house all afternoon long. Don’t believe me? Check out “A Fight Breaks Out At A Karaoke Bar,” “Rude Awakening,” “Blue Stained Lips,” and “The Star.”
Jacob Aranda – War Planes (Speakeasy Studios SF)
I often wonder sort of music my dad would be listening if he hadn’t gotten really into contemporary Christian music in the past decade. In the ‘80s of my childhood, he played lots of radio country in the minivan as our family drove around East Texas on road trips. In the ‘90s of my teens, I discovered his old vinyl collection of folk, soft rock, and outlaw country from his 20s. As he approaches 75, he spends most of his time puttering around the woods, tinkering on old electronics, or exploring the Western United States with my mom in their RV.
That alternate history version of my dad would have loved the music of Jacob Aranda, especially his brand-new solo album. War Planes delivers eight slices of soulful, ‘70s-inspired country-folk that conjures up rich images of the American Southwest. I’m blown away by how such full production can also sound so woebegone. The overall effect is sparse yet intimate while also featuring enough pop sensibility to avoid being a troubadour cliche.
He has this mournful, whiskey-soaked baritone that coats your ears like the sweetest honey. It’s then paired with warbling steel guitar, warm organ swells, and sumptuous background vocals. Standouts like the title track, “Dream of Mexico,” and “Strangers in a Field” provide delicious psychedelic American vibes in the vein of Tom Waits, Gram Parsons, and Gary Murray. All told, Aranda has created the perfect atmosphere for a quiet night sitting on a back porch swing watching the sun dip below the horizon.
Jerry David DeCicca – New Shadows (BWATUE)
Where does Indie Inspection even begin with this album? I had rendered me bereft of all standard reference points, yet it fills me with such joy. The ten songs of New Shadows by Jerry David DeCicca delivers a stirring fusion of ‘80s sophisti-pop and ‘10s art-country. I’m talking saxophones, trumpets, banks of synths, groovy bass, and supple drumming – real and programmed. And once his quirky, raspy vocals enters the mix, I’m agog at his musical accomplishments.
He possesses a mesmerizing capacity for whimsical lyrics that belie the deft arrangements and sublime instrumentation.The overall sensation might appear to be meditative and refined, but that’s before you dig down into the songwriting and production aesthetics. Tunes like “Manzanita Bay,” “Lost Days,” “97 Nights,” and “Sing” render me speechless at the depth and breadth of his outsider craftsmanship. It’s this bizarre mix of Bruce Springsteen, Jesus Jones, Sturgill Simpson, and Captain Beefheart, and it totally works.
Lydia Loveless – Nothing’s Gonna Stand In My Way Again (Bloodshot)
The breakup album certainly isn’t a new trope, but it’s one with near-infinite malleability. Not only is the material personal, but the experiences are universal. Everyone can relate to the lyrics because they can apply the concepts to their own lives. The twist is that the songs have be extra-special in order to break through the noise and leave a lasting impact on the listener.
Luckily, Lydia Loveless is up to that challenge. Nothing’s Gonna Stand In My Way Again channels the pain and heartache of both romantic loss and existential crisis brought on by COVID. Across ten tremendous tracks, they dish up delicious alt-country with heaping sides of folk and pop. Instead of tunneling into their feelings, they created a rollicking record that balances toughness and tenderness with ease.
They aren’t afraid of their emotions, and they certainly aren’t hiding from the aftermath of the breakup. The straightforward production provides space for big emotions and room for their voice to breathe. Listeners get plenty of energy and introspection, courtesy of loud guitars and thoughtful vocals. Songs like “Poor Boy,” “Toothache,” and “Do the Right Thing” harken to Tom Petty, Jason Isbell, and Lucinda Williams, while still belonging to Loveless. This album takes no shit and gives no fucks.
Margo Cilker – Valley of Heart’s Delight (Fluff & Gravy)
Maybe it’s the romantic in me or maybe I really do want to leave the greater Houston area for truly small-town life, but I’ve enjoyed quite a bit of introverted folk music this year. Or maybe I’m just turning into my dad, but with much better politics. Whatever the case, my 40-something soul welcomes country music in ways that 20-something me would have absolutely rejected.
However, I also know that version of me was an idiot because he actually needed to hear the music of Margo Cilker in his life. Valley of Heart’s Delight resounds with thoughtful Americana in the vein of Emmylou Harris and Gillian Welch. It’s a sparse yet well-rounded project that feels perfect for both sunny mornings on the trail or quiet evenings around a campfire.
In my mind’s eye, I can see my parents dancing ‘round the living room to songs like “I Remember Carolina,” “Mother Told Her Mother Told Me,” and “With the Middle.” I’m talking warm acoustic guitar strums, tasteful lead work, gentle drums, and some pedal steel. However, it’s the graceful break in Cilker’s voice that I found most appealing. She manages to lash together elements of ‘90s country and ‘70s honky-tonks with a tuneful precision that also rejects genre formulas. The album absolutely sends my nostalgia meter into overdrive, and I love it.
Worriers – Trust Your Gut (Ernest Jenning)
Before you accuse Indie Inspection of going soft in his old age, let’s close this month’s column by picking up the energy a bit. Worriers creates the sort of heartfelt power-pop that have somehow fallen out of favor amongst tastemakers over the years. However, I believe that Trust Your Gut can and will win them over.
These twelve songs overflow with emotional heft and earnest zest, thanks to the lovely alto of Lauren Denitzio. Think ‘80s alt-pop and ‘90s alternative in the vein of The Cardigans, The Cranberries, k.d. lang, and Sinead O’Connor. I recommend digging into upbeat zingers like “Waste of Space,” “Back Yard Garden,” “Anything Else,” and the title cut. It’s engaging rock with crunchy guitars and big drums that avoids cliches by blurring influences with ease.
Thanks for stopping by to read The Indie Inspection for September 2023. Be sure to check out our archives for more of my recommendations.