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.
Hello there, Leap Year!
[[Insert hackneyed joke about getting an extra day to enjoy new music here]]
I hope everyone is enjoying a good year so far. Mine has been relatively alright. My day job keeps me busy, as does my kid – especially their growing affection for music that I find to be more than a little annoying. While that’s not a new complaint for a parent to make, I definitely didn’t think my kid would have gravitated toward tunes that I would describe as third-rate Danny Elfman knock-offs. It’s as if they don’t read my excellent Indie Inspection column!
Whatever. I will keep on playing my music around them as much as possible, even as they force me to listen to their new favorite song on repeat.
For your reading and listening pleasure this month, I’ve assembled six stupendous selections of scintillating sounds for your sonic sensibilities. I’m excited to talk about two different duos: one plays excellent country-folk while the other conjures slinky trip-hop. We’ll also explore two slices of second-wave emo – while both are definitely mopey, they bring their own flair to the table. Finally, we will talk about two strains of ‘00s indie rock wherein one has sharp edges while the other is decidedly more ragged.
Onto the music!
Amiture – Mother Engine (DPI)
I like adjectives, but I also recognize they are subjective. That’s especially when it comes to emotions. It’s one thing to talk about how music sounds and another thing entirely to talk about how those sounds make you feel. Hence, I have to be careful about the words I use and how I use them. My goal must be to describe, not prescribe.
For example, when listening to Mother Engine, the new album by Amiture, words like brooding, melancholy, and sexy immediately came to mind. The duo’s quirky brand of trip-hop splits the difference between bleak urbanity and desert desolation. Think spaghetti western guitars against liquid bass runs and sharp drum programming. But what does that actually mean?
Well, it means that Jack Whitescarver & Coco Goupil craft stunning soundscapes with a precise production aesthetic. Courtesy of exquisite movements in their arrangements, their music comes across as cinematic, not cliched. Whitescarver’s plaintive vocals pair well with slinky breakbeats, especially on standout tracks such as “Law + Order,” “HWL,” and “Dirty.” Combining elements of massive attack, Bauhaus, and Radiohead, this group’s music is made for the shadows even as it searches for the light.
Flight Mode – Toyen, ’13 (Sound As Language)
A part of me doesn’t like talking about any wave of emo. It’s 2024, and Indie Inspection has been listening to this stuff since the late ‘90s. That’s over half my life. I will always love emo because it was so important to my musical development in college. But outside of the third-wave dalliances with glam and hardcore, the genre hasn’t changed much. While that’s not a bad thing per se, it also results in lots of sound-alike acts.
And then I listen a revivalist act like Flight Mode. Based out of Oslo, Norway, the group delivers high-end Mineral vibes with exquisite Death Cab for Cutie vocals. You can tell they are more interested in smart songcraft than scoring obvious nostalgia points, and it shows in their affection for clear-eyed EPs than bloated full-lengths. The four songs of Toyen ’13 showcase their collective affection for emo, power-pop, and deft songwriting.
“Thirtysomething” kicks off the project with chill energy, clear tenor, sparkling guitars, and measured drumming that build into bright pop. With “Hyperventilate,” we get an upbeat zinger packed with Jimmy Eat World zip and aching vocals. On “Surprised at All,” the band fuses strong drumming and crisp guitar with shimmering crescendos to delirious effect. Closing out the album, “My Brothers & Sister at the Funeral” channels the Weakerthans with a 3/4 tempo and fantastic guitar noodling. This is the right sort of vintage emo.
Friko – Where we’ve been, Where we go from here (ATO)
You might not be able to tell, but Indie Inspection went through a BIG Saddle Creek phase in the ‘00s. I repped for Bright Eyes and most other Conor Oberst projects, and I bought so many albums from that label throughout my 20s. Something about their ramshackle brand of indie made sense in my heart and brain for many years, especially in terms of expressing my pent-up emotions.
So when Where we’ve been, Where we go from here by Friko enter my ears earlier this month, it felt like being swept away into a dream. This high-energy Chicago duo melts together Bright Eyes, Cursive, and Margot & the Nuclear So and Sos with raucous and thoughtful energy. I’m talking huge Midwest emotions with relatable journalistic lyricism.
What I enjoy most about this album is how it’s rough on the edges but sleek at the core. We’ve got urgent, bleating vocals blended with crispy-fried guitars from Niko Kapetan sitting atop a bed of taut drum syncopation crafted by Bailey Minzenberger. Top tracks like “Crimson To Chrome,” “Chemical,” and “Get Numb to It!” feature sharp arrangements that belie the group’s youth. Yet, for all their Saddle Creek exuberance, this twosome definitely understand restraint and nuance.
The Montvales – Born Strangers (Self-Released)
Welcome to the February 2024 installment of “Folk Artist of the Month” here at Indie Inspection. While some folks might split a few hairs with this selection, this still my column. Hence, I can wax rhapsodic about an Appalachian bluegrass duo and call them “folk” if I want to.
Formed in Knoxville, TN and now calling Cincinnati, OH home, The Montvales meld guitar, banjo, and voices with warmth and freshness. Throughout the 12 tracks of Born Strangers, Molly Rochelson and Sally Buice deliver tremendous harmonies and polished musicianship without any unnecessary sheen. While this album features more full band arrangements than past projects, Rochelson’s guitar and Buice’s banjo carry the day.
I’m enamored by the sparkling tones and down-home ambiance of these songs. However, when you dig past the nostalgic presentation, you’ll find pointed lyrics about labor rights, religion, politics, and culture from a 21st century leftist woman’s perspective. Despite those heavy themes, the duo prefer to evince realistic and hopeful feelings, as heard on standout songs like “Woman of God,” “Bad Faith,” “Ghost Show,” and the title track. If you’re in the mood for cheeky, well-crafted music reminiscent of The Chicks, Union Station, and early Wilco, you need the check out this album.
Omni – Souvenir (Sub Pop)
As we’ve discussed before ad nauseam, “indie” means nothing and everything. For most people, it basically means some form of guitar-first, rock-centric music in the greater post-punk pantheon. Sure, you can quibble around the edges – as critics have done for decades – but when you also factor in the whole “we aren’t on major labels, and we don’t get played on terrestrial radio stations” bit, you’d have to truly play ignorant to not grok that overall aesthetic.
So, when I tell you that Omni creates quintessential indie rock, you should understand what I mean. Across all of Souvenir, you hear the sort of pointy, angular guitar sound developed by Gang of Four and Wire before being reinvented by The Strokes and Bloc Party. What sets this trio apart from other revivalist acts is their keen ability to smash together snaking guitar licks, taut drumming, and clean bass runs with sneering verve.
Instead of disaffected vocals or earnest crescendos, we get whip-smart grooves and locked-in arrangements. Then again, that’s the difference between plunky upstarts who can barely play their instruments and a road-tested group like Omni who are on their fourth album. While they aren’t afraid to push their musical ideas in new directions, the band has a strong core sound and unimpeachable identity that serves them well. I could rave about “Plastic Pyramid,” “Granite Kiss,” “F1,” and “Compliment” all day, but you should check out these songs for yourself soon.
Prize Horse – Under Sound (New Morality Zine)
Yes, yes. Indie Inspection found you more emo. This time, we’ve visiting one of the long-standing hotbeds of the America indie rock scene – Minneapolis, MN. Something about long winters in the Midwest has impacted the psyches of musically adventurous kids for generations. How else do you explain a world that can create Prince, Husker Du, and The Replacements?
While Prize Horse doesn’t technically sound like any of those three acts, the trio channels the same “I’ve gotta get out of this town” energy. On their debut album, entitled Undersound, they deliver 100% pure and uncut mopey emo. I’m talking genuine bummed-out rock with hefty guitar crunch and heartfelt lyrics.
What I really love about this band is how they can effortlessly flip the switch from sad to seething without changing the vocal delivery that much. They shift from Small Brown Bike to Slint on a dime while never sounding cliched or obvious. Think of it more as a keen blend of Sunny Day Real Estate and mewithoutYou – minus the slyly spiritual undertones and plus controlled angst. Fans of ringing bass tones, brilliant drum syncopation, and quirky ruminations about life will enjoy stellar tunes such as “Your Time,” the title track, “Reload,” and “Know Better.”
Thanks for stopping by to read The Indie Inspection for February 2024.
Be sure to check out our archives for more of my recommendations.