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.
May Brought the Goods!
Whew! This was a difficult month for Indie Inspection. The inbox overflowed with worthy candidates across a wide range of genres. Dear reader, I even considered expanding the eight offerings as a special treat. That’s right – you almost got TWO more than usual because so many artists released such excellent music.
However, as you’ll see, I resisted that impulse. Why? Because I value fidelity to the format, and I think you respect me enough to understand my reasoning. Also, after some deep listening and hard choices, six albums truly stood out from the pack. With stylistic diversity as the goal, I whittled it down to some arena-friendly synth-rock, an arty pop singer, a restrained synth-pop act, an excellent shoegaze band, vintage folkie goodness, and some classic country.
Let’s get listening!
Anna Tivel – Living Thing (Fluff and Gravy)
We’re starting off strong with the Indie Inspection “Singer-Songwriter of the Month” award. Anna Tivel’s brand of meditating folk-pop makes me smile from ear to ear. She possesses this dusky also that cracks ever-so-slightly with such delicious warmth. With her delicate yet determined delivery, Living Thing imagines a careworn combination of Patty Griffin, Shawn Colvin, and Sarah Masen.
It all starts with the supple arrangements, complete with clean lines and straightforward instrumentation. The prototypical guitars, bass, and drums setup receive essential texture from tasteful synth pads and keyboard fills. All of it makes ample room for Tivel’s earnest pipes as they convey confessional lyrics with maturity and intimacy. Led by “Bluebird,” “Disposable Camera,” and “Altogether Alone,” this refreshing record deserves your attention.
Hana Vu – Romanticism (Ghostly International)
Not all pop music is created equal. Not all pop music is even popular. Sometimes, you find artists who know how to take timeworn tropes and bend them inside out while still creating tunes with tremendous energy. In our post-genre world, Indie Inspection longs to find more of those acts and shout about them from the rooftops.
Which is why I’m happy to celebrate the artistry of Hana Vu. Her latest album, entitled Romanticism, overflows with an aching passion that I found relatable and accessible in its intensity. She has this remarkably clear contralto that’s perfect for crossing musical styles, but I’m even more enamored with her soaring range. That ability to hit notes up and down the scale with confidence calls to mind a hearty mix of Sinead O’Connor, Florence Welch, and Ellie Goulding.
The dynamic spectrum on display across this 12-song project showcases a thoughtful singer who balances elegance and bombast. Vu moves from clarion call anthem to restrained croon with sparkling ease and without showing off. By contrasting major-key, first-in-the-air rock, bubbly mid-tempo, and dramatic ballad, she harnesses flair and pathos with superb imagination. You truly must check out “Hammer,” “Alone,” “Dreams,” and “Airplane.”
Low Hum – Terra Incognita (Last Gang)
Super-sized stadium rock doesn’t do much for me these days. I can appreciate the glitzy spectacle and the large-scale drama on an aesthetic level – to say nothing for the feats of physical derring-do accomplished by the performers. Much like your average superhero movie, I can’t reproduce those over-the-top effects in my house. Hence, I don’t enjoy the actual music, but I definitely enjoy watching concert clips from artist like P!nk because she puts on a show.
But every once in a while, an outlier sneaks through my defenses and encourages me to crank up my speakers. Welcome to Low Hum, a stellar multi-generational Hawaiian artist who now calls Los Angeles home. On Terra Incognita, he serves up ebullient alt-pop that’s perfect for arenas as he pulls from a variety of genres with respect and honor. Sure, he has a slinky and sexy edge at times, but his overall crowd-pleasing vibes fuse The Weeknd, Tame Impala, Leon Bridges, and Glass Animals.
This talented artist pulls from synth, psych, R&B, and rock with ease, creating steady grooves with significant heft. The crunchy synths pads dance with the grungy guitar riffs while the ripping bass and thick kick drum get your guts trembling. It also helps that Low Hum has a delightful tenor that can slip from breathy to falsetto to bellow without any breaks or vocal tics. It’s a fantastic album, especially standouts like “Dead Weight,” “Sultry,” and “Blinders.”
mui zyu – nothing or something to die for (Father/Daughter)
Indie Inspection has talked a lot about pop this month, but we aren’t finished yet. The singer known as mui zyu melts moody vibes with brilliant pop ideas to create sublime, glitchy goodness. Her new album, nothing or something to die for, places large swaths of keyboard melody lines atop swirling shards of synth pads. These 15 sad and moping songs call to mind Sylvan Esso, The xx, and early Cat Power.
Imagine minimalist and stark soundscapes with just enough body to latch onto your ears. It helps that zyu has a strong alto that arches high and dips low with a gossamer lightness. In lesser hands, this would be a cliched sad bastard folk album. By focusing on negative space and gloomy auras, she brings a meticulous ambition to bear that elevates the album. I encourage you to dive into “donna like parasites,” “please be OK (feat. Miss Grit),” and “hopefulness, hopefulness” for the best glimpse at her sound.
Noelle and the Deserters – High Desert Daydream (Speakeasy Studios SF)
Yes, it’s another old-school country album. Sure, I’ve talked about many such projects over the past several columns. And yes, it could appear that Indie Inspection might be indulging in nostalgia for my childhood. But while all of that could be true, you won’t stop me from repping exemplary country artists thriving far outside the Nashville system.
This month, we’re singing the praises of Noelle and the Deserters. Hailing from northern California, Noelle Flore and company provide fun, flirty, and principled country. The 10 songs of High Desert Daydream rise far above mere homage by injecting ample flair, spirited energy, and lovelorn lyrics that are low-key horny.
It all starts with Noelle’s stirring alto that conjures Loretta Lynn, Tanya Tucker, and Neko Case. The twangy Telecaster guitar licks work well with the tight rhythm section, but it’s the addition of steel guitar and horns that create the true honky tonk mood running through this album. And when you layer on the piano trills and robust harmony vocals, it’s easy to see why project receives my “Could Have a Full Review” award. If you can listen to “Born In the Morning,” “Taos,” and “Canyon” without wanting to two-step around the room, you need check your country bonafides or your pulse.
So Totally – Double Your Relaxation (Tiny Engines)
Shoegaze is having a big moment. Not only have young bands been recreating and reinterpreting the sounds of the ‘90s for a few years now, but the genre has found curious life on social media as background music for various memes and trends. Something about the hazy, psychedelic vibes created by walls of guitar noise and blurry vocals befits the mood of our current cultural morass.
Into that milieu steps So Totally. On Double Your Relaxation, this animated Philly quartet cranks out dreamy shoegaze packed to the gills with the warm embrace of ennui. The group breathes fresh life into the genre by dialing back the distortion just enough to give the vocals some attention. Think of it as an injection of Britpop that allows for a much-needed sense of playfulness.
Obviously, the eight songs on the album feature guitar tone absolutely swimming in reverb and tremolo. However, I’m excited by the peppy movement in the arrangements and chord progressions that resist the pull of generic slowcore or lazy psych. The aching vocals receive more prominence in the mix while the sludgy bass tone and rich drum textures aren’t hidden by feedback. Fans of Sonic Youth, Starflyer 59, and Beach House should love this band, especially top tracks like “Distinct Star,” “BTW,” and Grass.”
Thanks for reading The Indie Inspection for May 2024. Please check out our archives for past recommendations.