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.
Welcome to Spooky Season!
It’s scary how good the music is this month. You’ll be frightened by the level of talent on display. You’ll get terrified by all the grooves, hooks, and jams. I’m shaking in my boots with fear at my relative inability to describe just how good these artists are!
Well, that’s enough of that.
I can only make so many October-adjacent and Halloween-related puns before I get bored. Lucky for you, Indie Inspection will never get tired of bringing you our favorite releases from each and every month. It truly is a joy to share excellent music with you, and I’m thankful for all of my readers. This time around, we’ve got two thoughtful folkies, two superb twists on post-punk, and two fresh versions of alternative rock that would be on the radio in another universe.
Let’s make like a ghost on the dance floor and BOO-gie!
Sorry. That’s the last one. I promise.
Anna Hillburg – Tired Girls (Speakeasy Studios SF)
At this point, we’ve gone from a cheeky bit to a full-fledged feature. In nearly every single instance of the Indie Inspection in 2023, I’ve somehow found a way to include what I’m now calling the “Folk Act I Love THIS Month.” It’s the artist who somehow breaks through my years of nonchalance about the genre (especially my opinions about overly affected lyrics) and makes me think, “Damn! This is really good!” I’m talking about people who reel me in with their musical integrity and then make me sit down to focus on the actual words.
For this month, I’m excited to talk to you about Anna Hillburg. She’s a singer, songwriter, trumpet player, and all-around badass living in the San Fransisco Bay Area. Her third full-length album, entitled Tired Girls, is a resounding testament to warm, pastoral pop music that firmly rejects any twee sensibilities.
From the jump, her thoughtful alto draws you in ease, seemingly inviting you along on an afternoon stroll just as the sun begins to set. As you both gaze into the horizon, crisp guitar and playful piano deliver the proper jaunty feel to your walk. It helps that the bright drums and tender bass provide a measured rhythm to your steps. When Hillburg’s trumpet melodies meet with supple organ fills, your heart and head begin to dance. But it’s the depth of her words that truly have you in awe of her abilities, including passages like this from the title track:
“Maybe I had enough of all that’s in my head,
Cause all that’s in my head might not be true.”
Hillburg fuses Cate Le Bon, Belle and Sebastian, and Angel Olsen with a winsome grace that I found incredibly charming. I recommend starting with my favorite cuts – “Holdin’ On,” “Girl Girl Girl,” “What to Do With the Lights Out,” and “Happier Times.”
Hello June – Artifacts (31 Tigers)
Yes, I know that talking about other artists when describing how a band’s music sounds can feel cheap and trite. “The music should stand on its own,” I hear you say. “I want original acts that don’t sound like anyone else,” others declare. “You’re a bad writer for using that crutch,” still more whine. Whatever. I think people need comparisons as a baseline. Our brains are wired to seek out connections to what’s familiar. The twist – as always – is finding artists that hit those sweet spots in your ears without being total copycats.
Which is exactly why I love the music of Hello June. The stage name of West Virginia resident Sarah Rudy, she crafts rich, resonant folk rock that warms the cockles of my heart. Across eleven earthy songs, Artifacts features a delightful brand of Americana without leaning too heavy into any one trope.
Rudy possesses a deep contralto voice with undeniable power and heft. Her delivery is smoky and sultry without relying on any stylistic cliches. She then calls on warbling guitar licks and a superb rhythm section to fill out the space. I’m talking about overall loose vibes that still sit firmly inside a clean pocket. And don’t get me started on the fantastic lyrics, especially cuts of this nature from “Interstate:”
“I don’t know if I’d make you proud but I’d really like the chance to try.
And I know we don’t see eye to eye, but what I’d give to pick a fight.”
It’s this gritty amalgam of Margo Price, S.G. Goodman, Big Thief, Dire Straits, and The Cardigans – and it makes me really happy. While you should definitely listen to standout originals such as “Honey, I Promise,” “23,” and “California,” Hello June brings the house down with a fantastic rendition of John Denver’s “Take Me Home, Country Roads.”
Queen Serene – Queen Serene (Independent)
Few things excited Indie Inspection like listening to an album and thinking, “I’ve heard this before, but I’ve never heard it quite like this!” It’s the feeling you get when you recognize the composite elements, but you can’t quite pin down exactly how the band is using them. Such discoveries usually fill me with giddy glee as I rush to spin the album several more times.
That’s exactly what happened with I came into contact with Queen Serene. On their self-titled debut album, this psychedelic Austin, TX quartet possess a penchant for generous waves of fuzz and noise, but they refuse to wallow in it. Instead, they focus that love of high volume through a post-punk filter to delirious effect.
Sarah Ronan and Matt Galceran deliver a stirring one-two punch of ripping guitar riffs and disaffected slacker vocals. Riley Corcoran’s work on drums and synth is somehow taut yet bursting with personality, while the bass lines provided by Dale Pohly are appropriately thick and sludgy. Imagine Siouxie Sioux, Sleater-Kinney, and The Breeders absolutely driving each other nuts combining pop ideas with slacker vibes while also showcasing ample levels of drama and flair. It ultimately works because Queen Serene prefers quirky reinvention over jammy dirges, but they do love making loud music. Check out “Isengard,” “Close to the Ground (Hollywood Take),” and “Debt Collector” if you need proof.
The Serfs – Half Eaten By Dogs (Trouble In Mind)
When you’ve been in the game as long as Indie Inspection, you’re beyond tired of hearing people complain about how good music “used to be.” Such missives typically come from folks who gave up exploring the concept of good music once they got their first good full-time job or started having a family. It’s especially bad from people entire generations older than me – and I’m in my 40s. Such ninnies were the inspiration for this column, so I look forward to finding artists who can spark their imagination – and mine!
This month, I’m stoked to talk about The Serfs. This powerful trio based in Cincinnati, OH blends futuristic electro-punk and retro motorik with caustic energy. Entitled Half Eaten By Dogs, their new album has you feeling like you’re in a dank club on a dark night. Even though you’ve ingested a few too many psychedelics, you’re committed to having a wonderful time with your friends.
It’s a downright frenzy of electronic skronk in a post-punk format that calls to mind Devo, Wire, Suicide, and the original No Wave aesthetic. Think pounding percussion, pointed guitar noise, droning bass, bleating vocals, and creaky synths. Dylan McCartney, Dakota Carlyle, and Andie Luman evoke downright brilliance, thank to heaps of impressive musical ideas and artistic integrity. If you ever need to convince older music nerds that high-quality outsider acts still exist, then tell them about The Serfs and make them listen to songs like “Cheap Chrome,” “Club Deuce,” and “Mocking Laughter.”
Squirrel Flower – Tomorrow’s Fire (Polyvinyl)
Indie Inspection was a teenager in the 1990s. That’s right. I’m old, dear reader. I cut my teeth on loud banks of electric guitar, thundering drums, and evocative lyrics about deep emotional pain. And while grunge has been reinvented and reinterpreted several times in the past few years, I still haven’t heard enough acts willing to explore the guitar bands of that era who weren’t on the radio all the time.
Which is why I was stoked to hear the music of Squirrel Flower. The stage name of Ella Williams, this Chicago-based artist gives us incredible alt-rock with the evocative edge that reminds me of my adolescence – yet much more mature. The ten songs of Tomorrow’s Fire are personal, passionate, and overflowing with moody energy.
Williams has this dreamy alto that sends chills up my spine, especially when she drops the tenderness and goes for the jugular. I’m totally enamored with how the gloomy guitar chops send the familiar arrangements into overdrive. Yet, it’s the moody drones created by the keyboards mixed with the molasses-thick rhythm section that give the music its overall glowering feel. If you’re in the mood for strong rock tunes that channel PJ Harvey, Mitski, and Sharon Van Etten, then you need to hear “Full Time Job,” “Alley Light,” “When a Plant is Dying,” and “Canyon.”
Terra Lightfoot – Healing Power (Sonic Unyon)
Oh look! More superb rock that channels the music of my childhood and updates it for a new generation. Even though I enjoy how ambient electronic music digs around inside my brain and sends me space, I still long for high-quality rock music that keeps me rooted. And if the songs have soaring vocals and arrangements that demand furious air drums and air guitar, then I’m really happy.
So, I absolutely love Healing Power, the new album from Terra Lightfoot. Throughout 12 terrific tunes, this fantastic Canadian artist calls to mind the best sort of ‘80s and ‘00s radio-friendly pop-rock. My ears immediately give me Joan Jett, Tina Turner, P!nk, and Hole vibes, especially in terms of big feelings and dramatic delivery.
It begins and ends with Lightfoot’s huge alto vocals, as they resound with gravely heart and edge. The music features strong guitar textures with clean tones and ample crunch when the power chords hit. However, the true complement to the big vocals are the superb drums, as the thick toms and bright snare carry the mood. Led by majestic tunes such as “Cross Border Lovers,” “Someone Else’s Feelings,” and “Come Back Around,” this record totally rules.
Thanks for stopping by to read The Indie Inspection for October 2023. Be sure to check out our archives for more of my recommendations.