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.
Gobble gobble, you turkeys!
It’s the last Indie Inspection of 2023! Why? Because December has become null and void for new albums. Since most publications concern themselves with various “end of year” lists in December, many artists eschew releasing new albums during the holiday season. And I don’t blame them. It’s already hard enough to grab attention for your art in the streaming era, so why set yourself up for failure?
Sure, you could proclaim that you don’t care about getting your project on a “best of” list, but you also need to work smarter and not harder. People spend all of December arguing about what was released during the first eleven months of the year. And the less said about those Spotify Wrapped gimmicks, the better. Thus, it would behoove you as someone who wants people to find their music to release it at a time when people would be more receptive to something new? December is basically super-charged toxic cultural nostalgia, so why would you want to fight that on purpose?
Anyway – November was a good month for music.
I found my requisite new-school “folks singer of the month,” and it’s a doozy. If I’d had more time in my personal life, I would have written a full-length review about the tremendous shoegaze band on this list. Two chilled-out art-pop groups made their way into my ears – the sort of stuff my wife loves. I also get to rave about some super-shreddy math rock and a groovy art-rock outfit.
Who’s ready for some music!
Art Feynman – Be Good the Crazy Boys (Western Vinyl)
Indie Inspection cut his teeth in the ‘00s trying to be a serious music journalist. I eschewed what I thought was frivolous pop music. The only bands I wanted to talk about were those with artistic integrity. Music snobbery reigned. Sure, I could smile when listening to music, but only for my personal favorites. For everything else, I had to maintain my objective criticism if wanted readers, artists, and public relations folks to respect me.
Somewhere along the way, I realized that pigheaded approach kept me from actually enjoying the music of sharp acts like Art Feynman. Instead of staring down my nose at his quirky brand of art-rock, I can instead bask in the glory of his big grooves and bigger personality. Be Good the Crazy Boys overflows with a loopy vibrance that encouraged me to dance around the room.
The brainchild of producer Luke Temple, the music serves up a heady brew of Tame Impala, Toro y Moi, and Talking Heads. The crisp guitar riffs shimmy with nervous energy as the strong bass licks deliver ample drama. The lovely female background harmonies and fantastic horn breaks gave me all sorts of warm feelings Feynman’s own vocal bleat resounds in my ears, but it’s his penchant for Steely Dan type character work that captured my heart. If you’re in the mood for frantic frivolity that’s also packed with ample artistry, then you’ll fall in love with this album, especially tracks like “Early Signs of Rhythm,” “Therapy at 3pm,” and “Passed Over.”
Hotline TNT – Cartwheel (Third Man)
As someone who was a teenager in the ‘90s, I experienced the peaks of grunge, the troughs of nu metal, and everything in between. It was the first music I discovered on my own, and it was the first stuff that spoke to me. As neurologists have proved through scientific study, the music of your adolescence can actually shape how your brain processes joy and pain. Thus, if your band has any hope of moving my personal nostalgia meter, your music had better come hard.
I was not prepared for the intensity of emotions I experience from the very first time I listened to Cartwheel by Hotline TNT. This ridiculously talented quartet has created a jaw-dropping fusion of shoegaze, C86 twee, and Britpop that makes my teenaged self soar. Honestly, this will be one of my Top 23 albums of 2023.
First off, the guitars are fuckin’ huge. They’re coated in all manner of hazy feedback that fills every possible nook and cranny. There’s also plenty of jangle to those guitars, and that’s what drives the melodies, even when the hooks and lead licks veer off course. The hushed vocals swim about the mix in a daze, never quite knowing where to sit or stand. Fighting against that discombobulation is a robust rhythm section that serves as generous lodestar for the entire project while never dominating the tunes.
The music somehow feels slip-shod yet controlled as tempos slur and time signatures morph to meet the immediate needs of a given song’s direction. It’s as if Starflyer 59, Ride, and Blur got stoned and wrote an album about a busted romance. You must check out “I Thought You’d Change,” “History Channel,” “Son in Law,” and “Stump” to fully understand what I’m attempting to describe here.
Jesse Kivel – Life and Death at Party Rock (New Feelings)
You thought I was joking when I said that I wanted to formally codify the “Folk Act I Love THIS Month” feature here at Indie Inspection. Hell, I thought I was joking. I didn’t think I could commit to the bit. But when I looked back over the 10 prior installments of my column in 2023, I couldn’t ignore the trend. So, I decided to double down and embrace what the musical universe sends my way.
For November 2023, I was entranced by the music of Jesse Kivel. His new album, Life and Death at Party Rock, features introspective folk-pop that’s reserved in tone yet direct and purposeful in execution.
I really enjoy his syncopated approach to guitar strumming. It creates a mesmerizing sensation that must be perfect for playing solo gigs and holding your audience’s attention. His gentle tenor is both affecting and comforting, even as his songs explore uncomfortable emotions. As the album progresses, he intentionally avoids one-note folk by gradually increasing the intensity and complexity of the arrangements and instrumentation.
It’s a delightful melange of Elliot Smith, Damien Jurado, Beck, and Cat Power – right down to his embrace of curious electronic elements that stretch his natural Laurel Canyon tendencies in fresh directions. I’m in love with tracks like “Nepenthe,” “Age of Man,” “Bayshore Bowl,” and “Puzzles in the Grass,” and I think you will be, too.
Marnie Stern – The Comeback Kid (Joyful Noise)
Not all resurrections and revivals are created equal. Some are the basis of entire religions, while others are devised by greedy executives seeking to exploit nostalgia. Somewhere in the middle of that spectrum sits the best versions – those that arise organically, with no apparent agenda, just because they can.
That is the inherent joy of this new record by Marnie Stern, appropriately titled The Comeback Kid. After spending eight years hanging out with Fred Armisen as part of his band for the Late Show with Seth Meyers, she returns with her first album in a decade. And it absolutely rips.
Across 12 songs in less than 30 minutes, Stern cranks out expert-level shredding with mathy-punky aplomb. The crisp tunes burst with passion, especially when her keening soprano enters the fray. Indie Inspection thoroughly enjoys the kinetic jazz-influenced drumming that accompanies her frenetic tapping.
Packed with melodic riffing and a hefty tone, this brazen romp provides a clear artistic statement: “Rock and roll is good for your soul.” Fans of Stern’s earlier work should easily fall in love with this project, though anyone who’s ever liked Deerhoof, Hella, and Battles should immediately resonate with this album. I heartily recommend standouts like “Plain Speak,” “Working Memory,” “Get It Good,” and “One and the Same.”
Meagre Martin – Gut Punch (Mansions and Millions)
The older I get, the more I find myself reconciling with my younger selves. In certain situations I even apologize to them for the decisions I made back then. Sometimes, it’s because I didn’t take care of them like I should have, but most of the time, it’s because I was an absolute dunce. Some of that stupidity could be chalked up to youthful ignorance, though it was often willful idiocy because I believed people older than me who were supposed to know better.
For example, when I listen to the music of Meagre Martin, I immediately get ‘90s Lilith Fair vibes. And then I get sad thinking of all the slander I heaped upon those artists when I was in high school and college. The trio’s new album, Gut Punch, fuses thoughtful folk-pop with subtle psych tendencies that give me substantial Tracy Chapman, Sixpence None the Richer, and Shawn Colvin vibes.
The immediate impact comes from Sarah Martin’s immaculate breathy soprano. She has this tender delivery that’s very relatable. It’s also perfect complement to the ample chorus and tremolo heaped onto her guitar. It also helps that the rhythm section of Max Hirtz-Wolf on bass and Freddy Corazzini on drums provide clean pacing and subtle textures.
Songs such as “Mountain,” “Please Clap,” and “Amerika” exude rich emotions through sublime musicianship. I’m thankful I finally grew up enough to appreciate quality acts like this. I could have retained my youthful ignorance because they fell outside of my comfort zone.
People Museum – Relic (Future New Orleans)
Indie Inspection probably plays the “Sound Alike” game too often for its own good. Then again, I’m typically trying to talk about the sonic qualities of either very new artists or established artists who still prefer flying far under the mainstream radar. So, I have to provide authentic descriptions of the actual artist. I also must make helpful comparisons in an attempt to provide some common ground.
For example, my first impression of People Museum is that their entire mood reminds me of a terrific combination of Bat for Lashes and Mute Math or maybe Beth Gibbons making bedroom pop. While that might be good copy for sharing on social media, you don’t actually know what Relic actually sounds like. Rest assured, the new album from this fantastic New Orleans quartet is worth your time and attention.
It would be easy to focus on the tremendous depth of the mezzo-soprano vocals wielded by Claire Givens. Her lilting pipes float and dance with ease, but she also knows how to bring them back to earth with some teeth. Then again, as a former band dork, I love how Jeremy Phipps uses his trombone acumen to give the album a jazzy edge without being obtuse. Furthermore, Charles Lumar II on bass and tuba deserves a special callout for his delectable low end power. Also, Aaron Boudreaux anchors the grooves with his drumming and synth skills.
What I like most about People Museum is how they seem self-aware about their aesthetic. The group fully recognizes how easy it would be to latch onto the dreamy and ethereal aspects of their music. Thus, they know exactly when and how to shift tempos, meters, and time signatures. They employ a deft precision that comes only from playing together and honing your craft. So, I hope you give this excellent outfit a fair shake and don’t hold my habit for comparisons against them. Check out “Sleep,” “Saturn Rings,” and “Whole Heart” for the best representation of their talents.
Thanks for stopping by to read The Indie Inspection for November 2023.
Be sure to check out our archives for more of my recommendations.