Here’s a really nice upbeat slice of indie folk-rock from San Francisco artist Loco Tranquilo (Julian Gervasi). Surf guitars wobble, shimmer and jangle over the bubbly punch of the rhythm section. Gervasi adds the psychedelic folk vibe with a vocal style reminiscent of Devendra Banhart – that free-spirited, trippy, grinning-at-the-sun kind of sound.
Recorded at Coyote Hearing Studios in collaboration with local producer Mackenzie Bunch (French Cassettes and Tino Drima) – it comes from his upcoming concept album being released later this year through eclectic, post-genre label Text Me Records.
Loco Tranquilo’s soft and dreamy melodies were apparently inspired by nights spent on top of coloured mountains making songs about the stars, being inspired by the beauty of nature, and meeting fellow musicians and artists on a bohemian journey towards California.
Ahead of the release of the new self-titled album tomorrow, we’re pleased to premiere the video clip for Balcony’s Paradise single ‘Outta My Way’. Featuring a German (Lorenz O’tool) and an Australian (Jeremy Tayler), the duo set up on a balcony in Victoria, looking towards Tasmania and captured their shared experiences on 4 track.
‘Outta My Way’ reminds me of Darcy Clay, the much missed Auckland, NZ songwriter. It’s lo-fi and woolly, gloriously ragged around the edges, grizzled and bleary eyed but still rhythmically right in the pocket. It squints and nods with a homespun and organic feel. A sweetly infectious and dusty pop song.
The album features covers of songs by TheBeatles, Toots and the Maytals, Townes Van Zandt, Merle Haggard and Johnny Cash – all given the laidback balcony treatment, with minimum overdubs. “We didn’t do many overdubs, just some piano, solos and backups. One day we visited Jeremy’s mother in Melbourne – a classical violinist – and overpowered her with a one take,” says Lorenz.
As the band say… “Don’t be thrown off by the noise of birds, mates dropping in, conversations, landcruisers and mowers. Just let it in and surrender to the mood!”
Dunedin and indeed NZ music royalty The Bats have been pretty busy of late. They released their new LP Foothills last year, to wide acclaim, and earlier this month they also intriguingly released an instrumental version of the album on Bandcamp which gives a really interesting twist on the songs, allowing the rhythm section of perpetual motion and those sparkling guitars to take centre stage.
During the pandemic, Bassist Paul Kean and guitarist Kaye Woodward have formed a humble supergroup of sorts by teaming up with Alec Bathgate (Tall Dwarfs, The Enemy) and Hamish Kilgour (The Clean) to record a couple of songs of darkly hypnotic, underground psychedelia. Hopefully more recordings are on the way!
Robert Scott always seems to be working on something new and he’s teamed up with Dallas Henley to release Level Four, an album of low-key, mostly acoustic songs that wind through some lovely melodies. The 14 tracks feature bass, Omnichord, guitar, vocals and keyboards.
This new track from Toledo caught our ear with its super laidback vibe – all jangly guitars, backbeat drums and hazy falsetto vocal. It reminded us of a cross between Kurt Vile and Sydney’s CJ Stranger but on a much more mellow tip. Folky indie guitar dream pop.
Toledo is the project of Daniel Alvarez and Jordan Dunn-Pilz from Brooklyn, NY and this track comes from their new six song EP Jockeys Of Love, co-produced and mixed by Jorge Elbrecht (Wild Nothing, Ariel Pink, Frankie Rose)and out now via Bandcamp (digital and red 12″ vinyl) and streaming services.
We’ve always been partial to the music of The Notwist, the way they blend those beautiful sad-eyed vocal melodies with post-rock intricacy and krautrock rhythms. They exist in that sweet spot between song craft and experimental composition, always inventive and beguiling in their art-pop explorations.
‘Sans Soleil’ comes from the band’s first album in seven years, Vertigo Days, out January 29th on Morr Music.
Despite the weirdness and social and political fracturing of 2020, there were still plenty of great albums that saw the light of day – and that light was a salvation for many. You can check out our Post To Wire (alt-country, cosmic Americana & dark folk) Favourite Albums of 2020HERE and Favourite AU & NZ Albums of 2020HERE.
Here are our 40 favourite albums of the year, ranging from alt-country to electronic, ambient to indie rock, post-punk to soul.
* Full disclosure – I worked on the publicity campaigns for the Golden Fang and Buddy Glass albums
On our favourite AU/NZ album of 2020, Thomson delivers his most accomplished work to date… ‘Sunday Girl’ is the closest Thomson’s got to a pop song, ‘Roll Away The Stone’ is smoky, winding blues, while ‘See The Wheels’ could roll on forever with its effortless groove. ‘Fatal Ribbon Highway’ is a dreamy slow dance, cosmic, heavy-lidded and sparkling and just one example of the diversification Thomson has brought to his impressive songwriting on Golden Exile.
9 Arlo McKinley – Die Midwestern
A new name for us and what a way to announce your arrival. Restrained songwriting with some exceptional lyrical content, Die Midwestern is built on poetry of the finest quality, delivered in a wonderful roughed-up country voice.
8. Moodymann – Taken Away
We couldn’t stop listening to this when it came out. Like a mix of D’Angelo circa Black Messiah, soul-jazz and futuristic electronic space funk. It was all in the rhythms, the breaks and the soul of it all. Deep hypnosis par excellence.
7. SAULT – UNTITLED (Black Is)
An album (and its follow-up UNTITLED (Rise)) completely of it’s time politically and socially, yet timeless in its blend of soul, funk, r&b, trip hop and more.
For us, Isbell was off his game on his last album The Nashville Sound but here he’s fully resumed his mantle of one of the finest songwriters of his generation. Lyrically and melodically there are gems galore right across Reunions. It was one of those albums that constantly inspired repeat listens throughout 2020.
4. Coriky – Coriky
Coriky are half of Fugazi (Ian Mackaye & Joe Lally) with Amy Farina (The Evens) and it’s the iconic DC band that they swerve closest to in the stop/start, quiet/loud dynamics and lyrical repetition, though it’s a less caustic, more intimate and organic vibe overall. Great drum sound on this damn catchy and gently visceral record.
3. Fontaines D.C. – A Hero’s Death
The Irish quartet sought to find different angles to approach their second album after the success and touring of Dogrel. They were hugely successful too. Widening their palette, going for denser guitar textures and rhythms that dug deeper and with more insistency. The vocals were just as earnest if more detached, observational and aloof. The key success to the album was that they showed they weren’t one trick ponies and look to be in it for the creative long haul.
2. Bob Dylan – Rough And Rowdy Ways
Once again Bob brought the element of surprise with this immense piece of work. Bold, literary, graceful, funny and highly moving. We thought his muse may have taken an early retirement with the endless touring and American songbook albums taking up his creative real estate. But no, Bob was back, hunched over his typewriter, casting an eye over the last century of pop and political culture, weaving in heartache and devotion. Nobody can bring together universality and the minutiae quite like the master.
1. Young Jesus – Welcome To Conceptual Beach
An intoxicating blend of post-rock and indie rock that in my mind ranged threw up comparisons to Talk Talk, Lift To Experience, Talking Heads, Wild Beasts and Radiohead. This was an album that created a sonic world to escape to, with heady and evocative ideals and some incredible dynamics in the arrangements.
One half of folk-noir duo Jep and Dep (also featuring Darren Cross of Gerling), Jessica’s debut album takes the sound forged from that musical partnership and crafts it into her own ethereal and immersive world. Cross is still on hand as producer and engineer but it’s clear from the outset that this is Jessica’s singular and personal vision.
Devoid of drums, the eleven songs drift and creep along like mist on a moor. Heavily draped in resonant reverb that creates an ambient, cathedral-like atmosphere, the billowing vapour trails hanging heavy in the air, shrouding her songs that explore the themes of death, loss and memory – formed from her experience as a survivor of a mass shooting in Strathfield, NSW when she was seven.
There’s a half-grasped memory quality to many of the songs, buried in a hypnagogic haze, while others such as ‘Womb Tomb’ are lifted skyward and ‘Has It Come To This’ has the DNA of a classic torch song.
Vocally, Beth Gibbons (Portishead), Elizabeth Fraser (Cocteau Twins) and Aldous Harding’s early work are clear influences on the way Jessica hauntingly layers her voice. By playing electric guitar, she avoids straight folk and creates more emotionally visceral textures, bringing to mind PJ Harvey and the more elegiac playing of Mick Turner (Dirty Three). Time and the listener’s full attention are essential to fully appreciating the depth and expansive beauty of The Space Between.
Slark Moan is the clever twist of a name that Nashville musician Mark Sloan records his solo material under. Pre-pandemic he spent a bunch of the time on the road as a hired gun for acts such as Kelsey Waldon, Margo Price, Sam Outlaw, Erin Rae and more, but when he’s at home he creates his own musical universe – writing, playing, recording and producing his songs.
You can hear a cosmic country streak running through his music but the dominant sound is a lightly psychedelic melodic one with lush instrumentation adding to his melancholic musings. There’s mention of artists such as Harry Nilsson, early Todd Rundgren and Emmit Rhodes and you can definitely hear them in his sound.