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.
Hooray for March!
Because I’m a dorky dad, I often want to start off each Indie Inspection column with a terrible joke. While I don’t do it often out of sympathy for you, dear reader, but I do feel the temptation. For example, I thought about doing something March Madness related, since I used to watch lots of NCAA basketball. I cast aside the idea of a spring cleaning reference as a bit too cheesy. Then, I debated using the old “March comes in like a lion and goes out like a lamb” canard before deciding it was too antiquated. As you see, I eventually went with a classic – which my kid tells me means “boring.”
Luckily for you, this month’s music is anything but boring. In fact, three of the six artists I’m sharing with you quickly vaulted into my burgeoning “Best of 2024” list. Even better, none of them sounds remotely like each other, which made it easier than usual to dig through all the potential submissions to find the really good stuff. We’re talking about a vibrant pop singer, a snotty ‘90s rock group, and some sublime country-folk. You’ll also read about a sharp alt-rock artist, a transcendent folk singer-songwriter, and a fantastic metal act.
Let’s get going!
Apogean – Cyberstrictive (The Artisan Era)
I’ve written about my history with metal in the past. I didn’t grow up around the stuff at all, so I had to figure it out in college as part of my overall musical education. As a band geek, I quickly appreciated the prodigious talent displayed by the best bands in terms of performance and arrangement. However, I also realized that metal would never be my favorite genre, even though a few groups and styles would always catch my attention. It was definitely a case of “I’ll know it when I hear it.”
Which is exactly what happened with Apogean. This Toronto quintet absolutely ripped my face into ribbons with their debut full-length, entitled Cyberstrictive. It’s a ten-song meditation on the terrible consequences of letting technology run amuck in society. Somehow sublime and brutal at the same time, the group combined tech metal, prog rock, and death core with remarkable ease. I’m talking impeccable musicianship across multiple time signatures courtesy of remarkable sonic chemistry.
Right out of the gate, the searing vocals of Mac Smith alternately growled and screeched with a blistering intensity. The thundering guitar work of Gabriel Silva Castro and Dexter Forbes left my mouth agape as they showcased rollicking gallops, big chugging sections, and impressive shredding ability. Robert Tam’s bass work provided a thick low end while the blast beats of Jacob Wagner had me longing for a righteous circle pit. Led by stunning tracks like “Thousand-Yard Glare,” “With Which Ear You’ll Listen,” and “Within the Bounds of a Simile,” this album delivered the goods..
Footballhead – Overthinking Everything (Tiny Engines)
As I approach 45 years of age, I have very little room in my musical diet for anything approximating pop-punk. But the nostalgia part of my brain craves the sort of hooky power-pop that dominated terrestrial radio in the late ‘90s. In other words Indie Inspection wants crunchy guitars, tasty rhythms, and strong drums without whiny vocals. That really shouldn’t be too difficult of a request.
Footballhead agrees with me, and you can hear it throughout Overthinking Everything. Across 13 two-minute tunes, this Chicago group cranks out energetic rock that threads the stylistic needle between Alkaline Trio, Third Eye Blind, and Superchunk. This super-snotty music is fronted by Ryan Nolan whose clear tenor brings a level of welcome melancholy to the proceedings.
The level of lyrical maturity on display belies the youthful aggression of the arrangements. The swirling ‘90s guitars dance with the bright drums, but nothing ever feels cheap or retread. It’s as if the band created the perfect soundtrack to a ‘90s teen movie created by an auteur director in 2024. If any of this sounds remotely interesting to you – and it should – please check out standout songs such as “Tightrope,” “Talking Nonsense,” and “Pilot.”
Hannah Frances – Keeper of the Shepherd (Ruination Record Co.)
You’ve gotta believe me. I planned to write about this album for this column before Pitchfork gave it “Best New Music.” Indie Inspection isn’t trying to ride those coattails. I promise. The artist was going to get two awards from me: the “Singer-Songwriter of the Month” and the “Should Have Been a Full Review.”
Because Keeper of the Shepherd is absolutely worth the accolades it’s received. Hannah Frances creates gorgeous folk music with well-rounded arrangements that speak well of her influences while showing off her own ideas. These seven songs feel fresh and clear-eyed on the surface, but when you start exploring the tremendous lyrics, a keen sincerity shines through.
It all starts with her lush, expressive alto serving the lead instrument. There’s a clear difference between simply having a lovely voice and knowing how to use it so you lift up the entire production. While her pipes have a tender presence, they possess a clarity and strength that attract the other instruments like a magnet. Supple guitar work abounds while layered percussion provides a thoughtful focus to the sprawling nature of the songs. Favorites like “Bronwyn,” “Vacant Intimacies,” and the title track give me HUGE Emmylou Harris, Joni Mitchell, and Joanna Newsom vibes. I’m in awe of this project.
Lindsey Lomis – Handle With Care EP (Self-Released)
I might have to introduce a new monthly award soon – “The Popster.” It will be the album that sends Indie Inspection over the moon with fun, ebullient grooves. To be clear, we won’t hand out this recognition to just anyone who delivers bouncy rhythms and upbeat zingers. I need tasteful yet charged music that I can imagine my entire family dancing to during dinner time.
Because that’s exactly what Lindsey Lomis provides on her new EP, Handle With Care. This vibrant five-song project reminds me of Dua Lipa, Tove Lo, and Charli XCX: bold feelings that embrace maximalism without over-indulgence. Lomis has a powerful alto with superb range that allows for ample nuance, especially when her plaintive pleadings feature “FOH” energy. Such sensations come to the fore when the sharp electro gets bolstered by gritty guitar textures. Check out “Stalker” and “Outta Sight [On My Mind]” to hear exactly what I mean.
Rosie Tucker – Utopia Now (Sentimental)
As the popular adage goes, “The kids are alright.” That might be easy for me to say based upon my mostly positive interactions with my kid and their friends, but I also get lots of music sent to me by budding artists. Some of them make excellent art with powerful ideas, and they’re less than half my age.
Take Rosie Tucker, for instance. On Utopia Now, this talented singer crafts wry ‘90s alt-rock with sly pop chops while injecting hilarious and pointed sociopolitical commentary. It’s not often you hear a song making fun of Palantir and data harvesting atop buzzy guitar licks and crisp drumming. It helps that the thirteen tracks have exquisite flow and pacing, which elevates the entire listening experience.
I’m a sucker for familiar ideas reinvented for new generations, especially when it comes with believable delivery. While Tucker’s disaffected vocals and leftist lyrics conjure up images of Daria Morgendorfer hanging out with Olivia Rodrigo, but the overall aesthetic is more of Lisa Loeb fronting Jimmy Eat World. I don’t know whether to be jealous of Tucker’s skills or shout about them from the rooftops. You simply must listen to “All My Exes Live in Vortexes,” “Gil Scott Albatross,” “Suffer! Like You Mean It,” and the title track.
The Wandering Hearts – Mother (Chrysalis)
I grew up listening to music with lots of vocal prowess. The Pentecostal churches of my youth regularly featured classic Southern gospel groups and Black gospel choirs. Several top pop acts in ‘80s and ‘90s Contemporary Christian Music often included three- and four-part harmonies. While my adolescent energy didn’t enjoy the actual styles of music, the band geek in my brain greatly appreciated hearing how voices and instruments fit so well into each other to create a musical whole.
So, when I come across a fantastic trio like The Wandering Hearts, my brain floods with dopamine. The delicious harmonies coursing throughout the eleven songs of Mother evince ample heart, depth, and true artistic compatibility. Chess Whiffin, Tara Wilcox, and A.J. Dean devise an elegant and timeless blend of folk, country, and rock that overflow with a bittersweet warmth. Just imagine Gillian Welch, David Rawlings, and Kacey Musgraves jamming with Fleetwood Mac.
As you’d imagine, the three voices sit front and center in the mix, but they’re never overbearing. Instead, they aim for an intimate strength, as the hushed volumes give off the feel of grownup lullabies. And since the lyrics speak directly to how both Wilcox and Whiffin recently became mothers, that stylistic choice makes lots of sense. So, yes, the songs can appear sleepy and measured on the surface, the interplay of voices, guitar, and mandolin pack in plenty of texture. I wholeheartedly recommend starting with “Still Waters,” “Hold Your Tongue,” and “River to Cry” for the best this group has to offer.
Thanks for stopping by to read The Indie Inspection for March 2024.