[Weekend Video] Island by Wyatt Overman (Live Basement)

This album was recorded over the span of two winters. In basements & bedrooms.

Go fifty miles from the nearest city and step outdoors. Whether the terrain is mountainous, a desert wasteland, covered in trees, or sprawling with flat country, the effect remains the same. A breath of fresh air, a step away from civilization and all of a sudden we're confronted with our clearest thoughts and greatest demons. With certain songs and certain albums, I can recreate this feeling just by pressing play. Two Winters, by Wyatt Overman is one of those albums.

As much as I've tried to find the right words to pair with Two Winters, words that could convey even the slightest brilliance the album brings to listeners, I've given up beyond what I've written above.

In a dark basement, fitting to the album's tagline, Overman performs Island with a raw passion and beauty that I didn't think could be more memorizing than the original song. With cuts to picturesque scenes of nature, juxtaposed with the dimly lit basement cave, the video presents this trapped-in-the-open feeling that pairs perfectly with Island's lyrics.

Stream Two Winters on Overman's bandcamp page.

 

Chapters by Marshall Lewis

I'm no stranger to loving contemplative songs surrounding the issues of maturing, moving on, growing up or the passage of time. Before anyone casts judgement my way, I'm in my early twenties and music is my biggest but least obnoxious quarter-life crisis outlet. Instead of pouring my thoughts out in controversial or annoying Thought Catalog type lists, I have playlist after playlist of reflective but almost sulking tracks that feel right in this period of my life. 

Chapters by Marshall Lewis is a song I have been waiting months to have in my rotation of reflection-provoking music. Back in the early days of District of Folk, I wrote about Marshall Lewis' song, Step Into My Life (Restless) because I was so dearly impressed. At the time, he was just eighteen but already drawing rightful comparisons to Dallas Green of City and Colour. With Justin Vernon and Sufjan Stevens as other inspirations, he's setting a high bar for himself to live up to. Yet, somehow, that bar seems attainable the more I hear. 

Don't get me wrong, I will always love the early work from Marshall Lewis. However, I can't help but be excited for the direction his music is moving towards. Chapters has a beautifully polished sound and wisdom that puts him on a level playing-field with the big names in the genre. The brooding lyrics paired with the emotive vocal chords and soft guitar may fit the cookie-cutter mold of radio-bound folk, but beneath the surface Chapters offers so much more. 

I've been rooting for Marshall Lewis for seven months now and I will continue to do so. He strikes me as wise beyond his years and gives off good-natured vibes that will appeal to a broad spectrum of fans. Chapters only affirms these thoughts.

Listen to Chapters on Soundcloud or Spotify. I truly think this is a folk gem that everyone could appreciate. If low-fi electronica is more of your thing, the remix by Ianborg & Bronze Whale is also worth a listen. 

Only Time Will Tell (Demo) by Neal Martin Amundson

I have a soft spot for demos. In a way, a musician is trusting listeners with their vulnerabilities. These are honest words, the visions of a single song-writer or the few members of a band, and a raw sound that truly captures an artist's abilities. Sadly, while demos can be the bridge between recording songs in a bedroom and the possibility of mainstream success, it can be difficult to track them down. Nowadays, with sites such as bandcamp, soundcloud and the easy ability to upload songs for the world to hear, so many talented individuals are coming forth. There are the songs and albums recorded in basements, in living rooms, with family, with friends... Songs and albums that are so homegrown and so outstanding. These songs and these albums are the reason why I blog.

The current demo stuck in my head is this track, Only Time Will Tell by Neal Martin Amundson. To be honest, this is another Reddit find. Much like how Matthew Fowler posted Beginning once upon a time, "CrispyNeal" wanted r/indiefolk to take a chance on his music. I went for it.

Only Time Will Tell appears to be a coming of age/ moving on story that is stark and realistic. I'm not sure what Amundson's background is, but these are insights one usually only has after moving away from home, betting on yourself, and following your dreams. The song starts out steady but with no hook. Usually, I know I'll love a song after a few seconds. I almost gave up until the chorus changed everything,"but only time will tell, if I'm across the state line and living well. Well, they say that's what passion's for, stepping out and seeing more. So, kick me passionately out the door." These wise words are consistently stuck in my head as of late.

Listen to Only Time Will Tell on soundcloud and marvel at how great the music climate is these days.

Mix: The World Takes (Winter 2014)

(jumping on the seasonal playlist bandwagon)

Winter is here. I'm shivering with every step away from my apartment building door and huddling indoors as much as I can. There's no sign of summer anywhere, even if we were blessed with those two seventy degree days last week. I'm ready for the hibernation. Give me cuddling and netflix over heading out to the bars any night now. 

This season will pass quickly. There's my looming trip to Colombia on the horizon and pushing through the last few weeks of an out-of-town work project. With any luck, Spring will be here upon our arrival back from abroad. I'm not saying I want Winter to come and go, but it's by far my least favorite season. 

This mix flows well. I'm no longer pretending that songs fit together on a mix - these ones do. The artists represented here are both new and old loves. The cover art I whipped up is from a photo I took on the Amtrak up to Boston. I found the Lower Trenton Bridge to be intriguing and beautiful in its own way. 

1. City By The Sea - Fort Frances
2. Step Out - Jose Gonzalez 
3. If This Is Your Love - Andrew Austin
4. Feel For Me - Foy Vance
5. Will It Grow - Jakob Dylan
6. She Wants to Know - Half Moon Run
7. Cuckoo Song - A Silent Film
8. Holding On For Life - Broken Bells
9. Bad Kingdom - Moderat
10. Drop the Game - Flume, Chet Faker
11. You As You Were - Shearwater
12. Two Winters - Wyatt Overman
13. The Line - The Eastern Sea
14. Mask - Folly and the Hunter
15. Taft - Donovan Woods
16. Setting Our Tables - The Last Bison

Spotify 

Shadow of A Man by Neulore

In an era of acts such as Lord Huron, Wake Owl, Field Division, and even Local Natives, bands that blend folk with thunderously big harmonies, picturesque soul searching lyrics and a touch of dream pop are making the genre more accessible to everyone. I have this theory that, at least for a while, we've seen the last of new "Mumford" bands getting radio play. The move towards a more alternative or pop sound is sure to win out over campy, mandolin-laced tracks, in my opinion. 

Shadow of a Man by Neulore would be another move in that direction, speaking to the part of our instincts that aspire to go home after a period of wanderlust. While the band is composed of two guys (+ friends) from Nashville, I find the sound teetering between the forests of the Pacific Northwest and the deserts of the Southwest. However, according to their bio, the duo is focusing on bringing "heartfelt songs to the masses", the pursuit of wisdom, community and telling stories to their listens. Those sentiments are Southern.

In 2010, the two released Apples & Eve, and appeared to remain quiet for a period of time. Shadow of a Man was released in March this year, though tonight is the first time I've heard the track. What I find even more shocking is how this track appeared in an episode of Grey's Anatomy and it still completely slipped under my radar. With a record deal, TV placements, and new merchandise in 2013, 2014 is surely the year Neulore will strike even bigger. I can't wait for a full album release.

Listen to Shadow of a Man and give yourself hope that mainstream folk will proceed in this direction. The track is available to listen to and buy on bandcamp and soundcloud.

The Songs of 2013

I want to thank this year for being the year that threw me back into music. When I reflect upon how I became invested in music in the first place, 2006 and 2008 have always been the defining years. I need to add 2013 to that list.

While I've been sharing my favorite songs and albums that were released in 2013, I have a few honorable mentions from prior years that I feel obligated to mention: A New Kind of House EP by Typhoon; The Match by The Eastern Sea; everything Lord Huron; So Far We Are by The French Kicks; The Midnight Organ Fight by Frightened Rabbit; Valley Maker's Self Titled album; Prison Boxing by Cataldo; all of Justin Vernon's prior projects, Counting Sheep by The Crane Wives and Through The Deep, Dark Valley by The Oh Hello's. As always, Rilo Kiley and The Format will always be significant, no matter the year.

Back to the present, this year is the year. Bastille's Pompeii was the most played song, according to my last.fm account. I still can't get sick of it, despite the radio play. r/comeonandslam reminded me that regardless of my folk or music-snobbery leanings, sometimes one of my favorite songs will end up being a Space Jam/ Radioactive mash-up. Whatever. Jumper Cables by Widower, complete with bloodsugar references, was written about me (or, in reality, a girl who could be my best friend). I rarely have a song fit me to a tee that well. When I first heard Hannah Hunt, courtesy of Vampire Weekend, I actually cried.

Pop and mainstream music were also constants and I'm not ashamed. I loved the new Gavin DeGraw singles and drove four hours to my alma mater to see him in concert back in February. J. Cole's Crooked Smile brought back TLC with a bang. I devoured the new Ron Pope song and fully intend to see his show at DC9, even though I'll be surrounded by teenage girls. I am sort of ashamed over having Pitbull and Ke$ha's Timber on this list but I can't stop dancing in my car when I hear it on the radio. 

If I could, I would add every song released this year from Typhoon, Valley Maker, Folly and The Hunter, Volcano Choir, Hey Marseilles and Pickwick to this list. Did I just give away my top 6 albums? Yes.

I tried narrowing this down to just one-hundred and I couldn't make it happen. There's no order - throw these on shuffle and enjoy the ride.

Round I:

Opportunist by Miyazaki

Love Lost by Roo and the Howl**
Gallup, MN by The Shouting Matches
Chicago by Fort Frances**
Best I Ever Had by Gavin DeGraw
Braving the Wind by The Sun Kite
Prom Night by Anamanaguchi
Moonless by Blatant Neon Ion**
Watch for Deer at Dawn by Folly and the Hunter
Well, You Left by Rilo Kiley
Foreign Bodies by Radiation City
Radioactive Slam by MuhLurs**
I Dreamt Blues by Vikesh Kapoor
Something to Get You By by Genders
Somebody to Love by Valerie June
Hannah Hunt by Vampire Weekend (<3)
Halls of Columbia by Pickwick
Burn by Ellie Goulding
If I Could Change Your Mind by HAIM
The Mission by Valley Maker**
Song For Zula by Phosphorescent
Tiff (feat. Justin Vernon) by POLIÇA
Casino (Bad Things) by Houndmouth
Comrade by Volcano Choir
Royals by Lorde
Bird Balloons by Lady Lamb the Beekeeper
Thinking About You by Typhoon
Step Out by Jose Gonzalez
Change by Churchill
Bad Kingdom by Moderat
Hurricane by MS MR
Young Fathers by Typhoon
I Have Been Lost by The Petticoat Tearoom

Round II
City By The Sea by Fort Frances
Byegone by Volcano Choir
I Remember You by Rilo Kiley
100 Years by Typhoon
East Coast Girl by Cayucas
Ivory Black by Seryn
Brother by Swear and Shake
Chain My Name by POLIÇA
Inside Out by Andrew Austin
Still by Daughter
Bang by Elin Ruth
The Round by Pickwick
Only Time by Valley Maker**
Tall Tall Shadow by Basia Balut
When We Fall by Timshel
Good Times by The Changing Colors
Everlasting Arms by Vampire Weekend
Promise of Lakes by Luray
Stay Awake by Ellie Goulding, Madeon
Dead Man's Dance by Bradford Loomis
Science/Visions by CHVRCHES
Jumper Cable by Widower
Blankets by Matthew Fowler
Modern Jesus by Portugal. The Man
Hey Stranger by Nicki Bluhm and the Gramblers
Move by Mausi
A Clear Mind, A Better Time by Del Water Gap**
Blood & Bones by Paper Bird
Bright Stars Burning by Hey Marseilles
Agape by Bear's Den
Sex by The 1975
Step Into My Life (Restless) by Marshall Lewis**
Wake Me Up by Avicii

Round III
Possible Deaths by Typhoon
Little Too Late by Nicki Bluhm and the Gramblers
Lick My Wounds by Ron Pope
Drop The Game by Flume, Chet Faker
Line of Fire by Junip
Crooked Smile by J. Cole, TLC
Bagel Girl by Black Checker
Put On, Cologne by Donovan Woods
Recovery by Frank Turner
Obey Your Guns by Matrimony
Ever Loved Once by Blitzen Trapper
Island by Wyatt Overman
Sask by Donovan Woods
Wildewoman by Lucius
Inside My Head by The Parkington Sisters
Play It Right by Sylvan Esso
Abandon by Modern Kin
Wyoming by Water Liars
Cherry Blossoms by Night Beds
The Fold by Ivan & Alyosha
Call Me In The Afternoon by Half Moon Run
You Don't Love Me Like You Used To by The Lone Bellow
The Breach by Dustin Tebbutt
Little Numbers by BOY
Sonsick by San Fermin
Heart Beats by Hey Marseilles
Acetate by Volcano Choir
Love of a Life by Kelijet, X Ambassadors
The Wire by HAIM

Round IV
Ships Pass by Paul Cook and the Chronicles
Wax & Wane by Alana Henderson
Dreaming by Smallpools
Low Wishes by Air Review
Never Wanted Your Love by She & Him
Fifth In Line to the Throne by Camera Obscura
Fireworks at Night by Campfire Ok
San Francisco by The Mowgli's
Timber by Pitbull, Ke$ha
The Great Northwest by Mighty Oaks
Of Space and Time by City and Colour
Dreams of Cannilbalism by Typhoon
Bad Habit by Foals
Out of My League by Fitz and the Tantrums
Weight by Mikal Cronin
Tides by Hey Marseilles
Closed Hand, Full of Friends by Foy Vance
Jack and Jill by Jon Morgan**
Ghost by Folly and the Hunter
Dear Pressure by Miracles of Modern Science
From This Valley by The Civil Wars
Moth In The Porch Light by Folly and the Hunter
Pompeii by Bastille
Wait Up For You by The Belle Game
North Carolina by Little Chief
Thunder Clatter by Wild Cub
Need The Sun To Break by James Bay
Summer Jam by Twinsmith
Grace For Saints and Ramblers by Iron & Wine
Riptide by Vance Joy
Faultlines by Field Division**

** Not Available on Spotify, therefore linked.

Pieces and Places: Desperados

(let's discuss the music I hear in district-area bars, coffee shops and other fine establishments)

Desperados is the neighborhood bar I always forget about. My friend group came here on Halloween and had an amazing time with $3 rails and the best bar food anyone can find in this city. Between fries with homemade Cajun sauce and homemade fried pickles (frickles), one can really do no wrong here. It's guaranteed to be quiet, the bartenders are always super friendly and it's a place two people can have a real conversation. I got especially lucky with our bartender last night. He was chatty, was providing great service and had this killer playlist going. A few songs into the evening and I knew it was time for another "Pieces and Places".

Date: December 25th, 2013 (Christmas!)

Time: 7:00 to 11:30 PM

Vibe: Dead quiet. A few beautiful folks waiting out the holiday at the bar.
Drink of Choice: two Shock Top drafts, an order of fries, two Abita Purple Haze bottles, and two mystery beer + shot combos. Merry Christmas to me! 

All I should say about this playlist: it was the best of indie music and had me intrigued for the entire four hours of my stay. The following songs were the stand-outs and my favorites:

I Stand Corrected by Vampire Weekend - the best quote came about when this song was playing "Nostalgia. It gets you deep. Like when you were back in your mother's womb." 

Zero by Yeah Yeah Yeahs - "it's like they're playing all the songs from Rock Band."

West Coast by Coconut Records - the song that hit all the right feelings. "I miss you, I'm going back home to the west coast."

Young Folks by Peter Bjorn and John - "I can never get over this song." I'm fortunate to only hear Young Folks at the right times and at the right places. I find myself circling back to it only occasionally and the magic is always preserved.

Fences by Phoenix - the bartender streamed quite a bit of Phoenix over the four hours I occupied a bar stool. Can we all take a moment to appreciate Wolfgang Amadeus Phoenix for all it did to the band and to alternative music? While I love older Phoenix, their pinnacle was truly reached here. 

Sweet Disposition by The Temper Trap - I've thought about this song being the forefront of my wedding playlist many times during my life so far, "a moment, a love, a dream, a laugh, a kiss, a cry, our rights, our wrongs." Is there anything more to life? 

Start of Something by Voxtrot - "Voxtrot is on this playlist. It's perfect now." Somehow, anyone who loves music as much as I do, will include The Start of Something on their quintessential mixtapes. It's a phenomenon.

Smiley Faces by Gnarls Barkley - While Crazy was the stand out track on St. Elsewhere, Smiley Faces was just as catchy and just as loved by me.

Such Great Heights by The Postal Service - Do I really need to say anything here? Put it on any playlist, anywhere and I will always appreciate those four and a half minutes of bliss.

Wake Me Up by Avicii - Avicii outdid himself with this song. It appeals to the mainstream stations, the EDM crazies and those of us who lean toward indie-folk music. He blended so many genres together in such a gorgeous way. I'm not sick of this song yet and it's always welcome.

Steady, As She Goes by The Raconteurs - "Is this Jack White's other band?" "Yes, but this is their only good song." Ouch, but true. I'm pretty sure this is the number one song I hear while out at the dives.

Dog Days Are Over by Florence + The Machine - a night isn't a night unless there's some Florence Welch coming over the speakers. I used to religiously listen to her on the long metro rides back to Silver Spring. I'm not commuting for social purposes anymore, so it's nice to hear her wrap up a fantastic bar playlist.

I encourage everyone to check out Desperados. I can never figure out why the bar remains so quiet. The drinks are good, the food is top notch (go just for the Cajun sauce) and the background music will keep you on your stool. You will find me here on holidays and those quiet weekday nights when I want to sit down, drink a beer and crank out some work.

Sonsick by San Fermin

No posts in November? Life has been kicking my ass lately on pretty much all fronts: 70 hour work weeks and commuting to a client four hours away on a weekly basis, getting back into running, going to and hosting random events with friends, and unsuccessfully fading away on a boy who refused to be faded away on. It's November 30th and I have not only survived this month but I've come out on top. I don't want this outlet to go away when I'm stressed but it's been difficult to find inspiration in even music these past few weeks.

I've had the usual staples on repeat - there's been a lot of Lord Huron and Valley Maker, which despite my adoration, do nothing but further the depressive cycle. I'm positive I've streamed Grace for Saints and Ramblers, Keep Yourself Warm and I Need My Girl about a hundred times a piece. Several other tracks have been sprinkled through this scrobbled history. I've kinda-sorta-actually fallen in love with someone else's playlist for a change. This "Morning Commute" mix, by Melissa Ecker, has held together my sanity while driving the total of eight hours to and from the middle-of-nowhere, Virginia each week.

While there are many gems to be found on her list, Sonsick by San Fermin was the song that shouldn't have grown on me the way it did. When driving long distances, I tend to tune out a bit more than normal. There's no reason to be as hyper aware of my surroundings as I would be during my normal commute. During one morning, around 6:30AM, the track didn't at all capture my attention until the chorus, which is purely shrill but in a pleasant way. At the time, I needed to identify the song and to remind myself to listen to it again at a later point. Dozens of streams later and I'm obsessed.

I've talked at length about end of summer songs and this one also fits that bill when reflecting upon my disastrous summer of flings, false hopes and ultimate disappointments - "it's a summer kind of sickness". Transitioning into slowing down and caring about other human beings again (other than just myself) has been a refreshing, but weird process. "I'll fall for you soon enough, I resolve to love" is an ongoing mantra right now. I want to give up the emotional shitshow. I want to get attached to people again. My friends alone in this city are worth it.

The overlapping and warring thoughts in the chorus ground me when I start to panic about extending an olive branch to those in my life I want to keep around for a long time.

"Oho, don't be scared / That it's a harder kind of feel
Hold on tight / You must hold on unless you're in it
Ease your mind / And when you think, you're thinking clear
It's alright / You're really tied up and committed
Won’t you say? / But it’s an awful lot of talk
Stop the fight / Before the fire burns too quickly
Don't be scared / Why do you wanna hurt at all?
Hurts all right / Someone's summer kind of sickness"

The rest of the song progresses into whimsical thoughts about future plans and settling. The picture it paints is simplicity at its finest but absolutely mediocre: "Maybe find a place where we could rest/ when we're old enough/ we can have a dog and all the rest/ we can live it up/ all dressed in my Sunday best." I question whether slowing down and caring is really all that.

Listen to Sonsick when you want a little bit of confusing comfort playing in the background of your life.

Weekend Video: Modern Kin's HELLO, WORLD

"HELLO, WORLD is ephemeral, like a live performance has been since the first musicians.  Each event will happen and then be gone - no recording, no coming back to it later.  In the moment across human hours, online, but not forever—not adding mass to the snowball of data we must process, remember, reference, link-to, protect, promote.  Events in time, across time, each one appearing everywhere at once and only once."

Catch this while you can! Portland band, Modern Kin, have been playing release shows at Mississippi Studios and live-streaming the performances on Youtube. At the present moment, there have been five shows over the past twelve hours, with two more to go. This is the gist of their HELLO, WORLD project. In seven different time zones, at their local 10PM time slot on either 10/25 or 10/26, you can tune in and hear the band play their release show over and over again.

Unfortunately, I didn't make it at 10PM my local time (UTC-4) last night, but it's currently a little after 10AM and I just watched the UTC+9 performance. I can't imagine a better way to start off my Saturday morning.

The project is ambitious, but we're five shows in and the band shows no apparent signs of wearing or slowing down. I also loved how it was 7AM in Portland  and there appeared to be a decent-sized crowd over at Mississippi Studios.

If you haven't watched any of the live performances yet, I highly recommend tuning in for the last two shows. There's one at 4PM EST and 5PM EST tonight. Considering that's prime pre-game time for tonight's activities, I'm thinking of having a few friends over for cocktails and having this stream.

Stream the shows from the video above (at the appropriate times) or check it out on their HELLO, WORLD site. The self-titled album was released on October, 22. It's wonderful. You can purchase it on their bandcamp page. 

Chicago (Sufjan Stevens Cover) by Fort Frances

With Sufjan Stevens' Chicago, any city could be substituted for the windy city and any individual coming to age, starting over or finding themselves would be able to listen to and understand the complexities behind lyrics. I've always loved Stevens' approach here - upon first listen, the song almost sounds upbeat and peppy. However, peeling back each verse as a layer, the song grows progressively melancholic and any hope for a story to aspire to goes out the window. While some of us can relate here, none of us should really want to.

Fort Frances' cover wears the song's emotion right on the sleeve. From the beginning, anyone will know this story does not have a happy ending. At the very beginning of the song when "I fell in love again" appears, it's predictable by the end of the song a point will be reached where "I've made a lot of mistakes".

I can imagine myself streaming Fort Frances' cover over and over again the minute I decide the district isn't the place for me anymore. I've fallen in love with DC over the past two years, but as flighty of a person as I am, there will likely an incident that propels me to run. With every city there's this cycle one experiences where you: recreate your life, grow as a person, fall in love with the city and everyone within it but inevitably make mistakes and leave.

Within this cycle, I'm somewhere in between falling in love and making mistakes. Sometimes, I'm not so sure how much longer DC will have a hold on me.

You can listen to and download Chicago, as covered by Fort Frances, on Soundcloud. As an additional note, their new EP, Breathing Room, was released last week and is truly fantastic.

Typhoon @ Rock and Roll Hotel

How many more instruments will appear?

Typhoon was arguably my most anticipated show of the fall. I fell in love with Typhoon, the boy I was falling for fell in love with Typhoon and neither of us could listen to anything else. There was a pact or a common idea that if/when the band played in DC, we'd both end up at that show at any cost. When announced in late June, after spending a month heartbroken, I had this grand realization that no one has the ability to ruin music for me.

I have emotional layers built into certain artists. With Typhoon, the surface layer involves a bit of heartbreak. I discovered Summer Home and it was immediately shared over g-chat and adored by the boy. We spent hours streaming it in the background of our conversations, I sourced The Tender Loving Empire NW Pale Ale from Seattle for us to share (we never did), and us finding out about White Lighter is still a day I remember.

However, the surface layer is just that. There's no depth, no actual substance and the layer is easy to flake off and forget about. Typhoon, to me, at the core relates back to the chronic illness angle and how easily I can identify with their music. That will always triumph over someone who was only in my life for a mere four months.

I didn't see the boy at this show. I won't lie and say it wasn't a relief.

Lucky for me, I had fantastic company no matter the outcome. My friend, Katie, had always loved Hunger and Thirst, but disliked A New Kind of House. She was a bit wary of how White Lighter would sound but streamed the album in anticipation for the show. I'm so happy she ended up back on the Typhoon bandwagon. We arrived early and managed to score front row spots. Unfortunately, front row meant right in front of the twin drum sets and I'm pretty sure I permanently lost hearing that evening.

Radiation City opened. I've tried countless times to love and appreciate their music in the past, however, their opening set ended up being the missing piece I needed. They played quite a few songs from their newest album and rocked them all. I found myself highly drawn to their catchy 1960's-retro vibe and it's a style that is not overdone right now. Above all, every member of this band was extraordinarily talented and really attractive to boot. We enjoyed their performance and how it ended up being enough to tide us over in anticipation for the main act.

Shortly later, one by one, we watched as all eleven members of Typhoon crammed themselves on to the relatively small stage at Rock and Roll Hotel. It was quite the sight to see. Kitchen Tile started the set off and I'm glad it did. For such a short song, there's a lot of punch. From here on out though, we'd primarily be hearing White Lighter, in order, in its entirety. I'm still not sure if I particularly enjoyed that aspect, but the album order is there for a reason.

When White Lighter initially came out, I honestly thought it sounded over-produced. I changed my mind hearing the album played live. Every sound, every instrument, every part of every song was organically created by one or more of the members on stage. There's no over production involved - just eleven musicians able to create many but cohesive sounds. The timing was particularly tight as well - I found myself anticipating certain little standout sounds from the tracks and hearing them perfectly executed on the stage.

Artificial Light was as spectacular as anyone would expect it to be. Young Fathers was the first anthem song, where everyone chanted that last portion, "I just called to tell you, I just called to say, learn all your mistakes, passed down through generations". I held onto the "two minutes of morbid bliss" that was Possible Deaths and remembered why it could be my favorite song. Summer Home, my first introduction to Typhoon, was played in the middle of the set somewhere. Unfortunately, I hated how this sounded live - compared to the White Lighter tracks there was energy missing.

During the later half of the set, Dreams of Cannibalism was the anthem song - I'm pretty sure the crowd sang the entirety but especially "unhand me, I am not criminal". Hunger and Thirst was more popular than I was expecting, as was Common Sentiments. This is proof that Typhoon can carry a whole album, as there is no where during White Lighter for anyone's mind to wander off. As I've noted before, Post Script was a gorgeous end to the album and to the live set. For the encore, Caesar kicked off. I didn't particularly miss it during the main act, but I did enjoy hearing the little clip. Rules of the Game, their latest b-side, was the final song of the night.

Through and through, I adored this show and three weeks later, I think I'm still riding the show high. This is the fourth out of five amazing fall concerts that I just can't stop daydreaming about. Someone, please, take me back to that night.

Weekend Video: Ghosts by Folly and The Hunter (Southern Souls Session)

It's no secret that I adore Montréal band, Folly and The Hunter. Tragic Care refuses to be trumped by any other releases this year, as my favorite album of 2013. Bold as that statement may be, I can't stop listening to their insightful lyrics woven through their unique quiet-folk sound.

In anticipation for their European tour with Half Moon Run, they released an acoustic video of Ghost with Southern Souls. There's a lot to love here, but Nick Vallee's stripped down vocals really adds something to the poignant melancholy of the song. That moment in the song, when the music quiets down just a notch with "And the ghost keeps calling so you’re driving down the road and you’re not going back", especially stands out in this video. I like when songs build up to these hooks at the end. This one isn't loud but is prominent.

If you're fortunate enough to be in any of their European tour cities, go see them with Half Moon Run. Is there a better duo for a folk show? I don't think so.

Headlights by Get Dressed

When I was only a lowly teenager, I began my delve into local music. One of my favorite Seattle bands from around this time was an indie-rock outfit, Get Dressed. A song of theirs, Headlights, became a favorite of mine. Throughout the years, this song has remained with me and has never quite been forgotten. On a sad day back before grad school, my desktop computer finally died. With it, I lost my entire music collection. Nowadays, that's not the worst thing in the world, with Spotify and other comprehensive music players. However, a few tracks were lost, to never be resurfaced. Headlights was one.

Get Dressed broke up in 2008. I remember seeing flyers for their last show at The Vera Project. To listen to this song, I searched everywhere (from Myspace to Lineout to ReverbNation). I even pleaded with my friends on facebook. No luck anywhere.

In a little twist of irony (or something), I reclaimed Headlights when my current computer crashed. I'm debating getting a Chromebook and decided to check out Google Play. When Google Music first came out, I uploaded much of my old music collection on a whim. I had forgotten all about this. Several scrolls down the page, Headlights was there.

I couldn't be any happier.

The opening riffs hook me every time. The repetition of the chorus is the portion of the song I used to sing in my head when I hadn't listened to the track in a while: "and, we move slowly and slowly and slow". The way they portray a mediocre relationship - it could be on every teenager's life soundtrack. We've all experienced this sort of lackluster, even if we're hoping for more. Get Dressed was easy to relate to, non-pretentious and the local act you hoped would make it somewhere.

Listen to Headlights. I did the world a favor and uploaded a copy to Grooveshark. It's worth the four minutes (and a few replays).

(image above via Lineout)

Pickwick @ Rock and Roll Hotel

"Thank you for showing DC how Seattle can rock."

I'm not ashamed of how much of a Pickwick supporter/fan I am. I love my Seattle bands and I keep them close to my heart. The spirit of the Seattle music scene flooded this show and I haven't missed home so much in ages. 

My Friday night started off as it normally does - stacked full of social plans but trying to fit everything and everyone in. I bike-shared from my apartment down to Chinatown to meet up with a friend for happy hour. A couple of beers left me appropriately buzzed for what would follow. A longer-than-I-expected ride over to H Street happened and I arrived to Rock and Roll Hotel right when doors were supposed to open. 

I have a penchant for arriving early, and early I was. Sound check was still happening but the second floor bar was hosting a drunk spelling bee and I joined in. A couple arrived upstairs and asked me if I was here to see Pickwick. I was and mentioned how much I loved them, especially being from Seattle. "Oh, you're from Seattle?", the lady, Sandy, asked, "do you know of another Seattle band, Campfire OK?". Yes! I told her that I really enjoyed their new album and had listened to it through and through the day before. She was thrilled, as she was Mychal, the lead singer's mother. This is what the Seattle music scene is all about. We hit it off, she showed me some baby pictures and I couldn't get over how unreal/adorable the whole exchange was. I definitely tweeted about it. Sandy ended up winning second place in the Spelling Buzz too! 

After I struck out during the Spelling Buzz for misspelling "geisha" (I know, I know), I headed downstairs and snagged myself a sweet little spot in the front row.

The Petticoat Tearoom opened and I thoroughly enjoyed their set. They're a Baltimore/DC area band and I'm hoping writing it down here will keep me accountable to go out and see more of their shows. Lately, the five-piece band has been drawing comparisons to Blitzen Trapper, Dawes and other folk-americana bands. The Baltimore/DC area needs more of this sound and I'm happy the Petticoat Tearoom were able to deliver so wonderfully. I spent some time this week listening to their most recent self-titled release and I'm convinced they need more attention. At the very least, listen to I Have Been Lost right now and I'll do a full write-up here shortly.

Between sets, I made a concert buddy, Cody, who had lived in Seattle for three months. I couldn't agree more with his feelings about the city: "those three months in Seattle were the most depressing of my life, but I still love that place".

With that thought in the air, Pickwick walked onto stage. Generally, I'm fairly good at remembering the order of songs played, but for some reason, I can't figure it out for the life of me. The set-list blended together, in the best way possible. I can't remember a single down period and I kept remembering the notion that Pickwick is truly a rock band. Despite my love of folk, there's really none involved here. The Round, Halls of Columbia and Lady Luck were my highlights. The Round, for being my current favorite; Halls of Columbia, for being the opening track that had me hooked; and Lady Luck for how much more I appreciated the song after seeing it live.

In addition to playing most of Can't Talk Medicine, several new songs were played. I must say, I'm so so excited for their new material. Pickwick has such a distinct style that they're sticking to and that's such a good thing. I don't think this band can do any wrong.

Galen was just as amazing as you'd imagine. While I knew his vocal range was off the charts, actually experiencing him live was a whole 'nother level of extraordinary. From the soft high pitches in Lady Luck to the guttural sounds in Halls of Columbia to the harmonizing in Window Sill - watching him span all the ranges was truly incredible. With his stage presence, you could tell he was made for this. I couldn't even get a great picture due to how much he was bouncing and rocking around. I definitely got hit with the microphone cord one or twice (worth it!).

Window Sill was the closing song and damn did we all rock out. For the encore, I believe they covered Pump It Up by Elvis Costello. I never realized it until then, but Pickwick absolutely has that Costello-vibe.

After the show, I went upstairs to buy a physical copy of their album. I ran into Sandy and we introduced ourselves to Galen. She pretty much pushed me towards him and he was such a sweetheart about conversing with fans. I told him about my passion in supporting my Seattle bands and he truly seemed humbled by all the praise I was pouring out of my mouth. I also got to watch him converse with Sandy about Campfire OK. I stood there floored because I got to experience the Seattle music community first-hand, three-thousand miles away. Parting ways, I thanked him for showing DC how much Seattle can rock.

Sandy and I said goodbye as well. We hugged and I, once again, reaffirmed how many people truly believe in Campfire OK. On a strange, music-inspired high, I walked out of Rock and Roll ready for whatever the rest of the evening would throw at me. 

Weekend Video: Typhoon @ Room 125 Productions

I'm happy the school year has started once again. Although I'm no longer in school, September means the return of Room 125 Productions' Classroom Sessions. In what may be the coolest class of all time, at Lawrence High School, students have the opportunity to meet with artists and develop their live film-making skills. The Classroom Sessions have featured a wide variety of artists since its inception in 2010, including many of my favorites: Hey Marseilles, Pickwick, The Local Strangers, Water Liars, and The Head and The Heart. Most recently, Typhoon stopped by to perform.

I'll have enough to say about Typhoon's live performances once I publish my recap of their concert at Rock and Roll Hotel, last Wednesday. With this, however, I want to highlight Kyle's response to the question about whether Typhoon's songs are paradoxical. Because, the songs sound upbeat but actually reflect morbid realities. I think his answer here is exceptional and guiding, evidence that he is someone high school students can and should look up to. Despite all the darkness in his life, there's opportunity to make the most out of it (to cast out the light) and I love that sentiment.

By My Side (Everlasting Life) by Valley Maker

In the last twenty-four hours, I've discovered Yes I Know I’ve Loved This World, an album by Valley Maker; listened to By My Side (Everlasting Life), decided that I immediately needed to buy the album without making it past the first few lines of that first track; woke up at 3AM and re-streamed the song; biked to Union Station; endured four hours of my train ride before deciding that I needed the song in my life again; struggled with spotty Amtrak wireless; and was finally able to listen via the Soundcloud app. All the trouble was worth it.

By My Side (Everlasting Life) had that instant chemistry with me from those first few lines: "When the sun lights up your face/ don't give me time/ don't give me space/ just give me something that I can taste/ like you right by my side". After the opening, there's another three minutes of open and beautiful verses. My feelings about music and my feelings about people operate with similar mechanisms. Personally, I'm never sure how to describe the sensation when I meet someone who clicks and takes my life to a whole new plane, however, this song does a pretty damn good job. I want to feel about someone as passionately as the song describes, but I think I'd settle for feeling about someone the way I feel about the song. It's just that good.

Honestly, I've already purchased the album without listening to anything else. Something tells me I'm in for a real treat and I'll save it for the eight-hour trip back to DC.

Austin Crane is the force behind Valley Maker. Some of you may be familiar with his work already - I know I've had a few of his songs pop into my life before. After recording this album in Columbia, South Carolina, he moved out to my lovely city of Seattle! He'll flourish in that scene.

Listen to By My Side (Everlasting Life) and the rest of Yes I Know I’ve Loved This World on Bandcamp or Soundcloud.

Faultlines by Field Division

I can vividly remember where I was and what I was up to when I first heard music by the Local Natives. Airplanes was streaming at my favorite University District coffee shop, Cafe Solstice. Never before in my life, had I heard anything comparable. I somehow captured enough of the lyrics in my mind to later figure out what the song was. Discovering that song and later all of Gorilla Manor, ended up being one of those charming defining moments that helped shape my music tastes into what they are today.

Upon first listen of Faultlines by Field Division, my mind was yearning to feel the same way as I felt when I first heard Airplanes. There are definitely technical similarities between Field Division and Local Natives, but the common thread between the two is truly how the music makes me feel.

Here's a short list of why I adore this song : the beginning harmonies, the lushy vocals, the scenic descriptions but air of mystery contained within the lyrics, more harmonies, that moment half way through the song where the vibe noticeably darkens, the subsequent build up that actually makes it feel like clouds are moving in for a big storm, the tribal-esque but campfire sound delicately layered in... I could go on and on. When I listen to this song, I have wanderlust for the Southwest and can visualize the rich turquoises and tans in the back of my mind. Considering my drab surroundings at the moment, I find that impressive.

Field Division is a project from Des Moines, Iowa, currently stationed in Nashville, Tennessee, by Taylor Hiatt and Nick Frampton. From what I can tell, this is the only song they've released right now but I'm highly anticipating more.

You can download Faultlines on Bandcamp, Soundcloud and a few other places.

Don't Come Close by Yeasayer

With every Grand Theft Auto, I'm convinced there's at least one music gem released exclusively for the soundtrack. For example, The Music of Grand Theft Auto IV, in 2008, had No Sex for Ben by The Rapture. A song which was played for a period of probably a month when the soundtrack was first released and occasionally comes up on shuffle, evoking fond memories. Whenever a new GTA game is announced to be released, I get excited for the soundtrack and not the game.

On Grand Theft Auto V, the song to love is Don't Come Close by Yeasayer. I've been a Yeasayer fan since All Hour Cymbals in 2007, which I still maintain is the greatest album of theirs and one of my favorites of all time. Odd Blood and Fragrant World haven't necessarily been disappointments, but it's been a while since I've been so excited over a possible direction this band could be taking.

Don't Come Close was recorded around the time of Fragrant World and sometimes pops up on live sets. I agree with the band's thoughts that the song doesn't really fit anywhere. In my opinion, it showcases the best parts of both Odd Blood and Fragrant World. There's the catchy, more upbeat, pop sound from Odd Blood but the song is as polished as the tracks off of Fragrant World. I think it's a good middle ground. I always thought Odd Blood was a little too erratic and Fragrant World was too aurally flat. If this is the direction Yeasayer is moving towards, I'm all for it. I'm also for the band returning to their experimental-folk sound from All Hours Cymbals, but I know that's a pipe dream.

Lyrically, Don't Come Close, isn't as complex as some of their prior tracks. However, Yeasayer has this strange ability to capture poignant feelings with their music, spanning their entire history as a band, and Don't Come Close is no exception. The line currently sticking with me, "people don't change, they only get old", is simple but all-telling. In fact, it may be time to update my Gchat status.

You can download Don't Come Close and the rest of the Grand Theft Auto V soundtrack from iTunes. Or, listen to this Youtube upload below.

Weekend Video: Life is a Highway as covered by Folly and the Hunter

Folly and the Hunter is a criminally underrated folk band out of Montreal. While I need to devote an entire post to why Tragic Care is my favorite album of 2013 (despite White Lighter, despite The Hurry and the Harm, etc), now is not the time. I spent a few minutes of my afternoon excitedly discussing Folly with a new friend and I'm inspired to post something.

For now, enjoy this cover of Tom Cochrane's Life is a Highway. I adore how quiet the cover is. The original song and Rascal Flatt's versions embody this upbeat vibe, where the "highway" is nothing but an adventure. Here, we have a much more reflective take, where I can imagine this song accompanying me on a late night drive as I'm pondering where my life has been and where it is heading. It's honest to the intent of the original song and pulls it off in a much different, but appropriate way.

I'm convinced this band can do no wrong.

Volcano Choir @ The 9:30 Club

"This is going to be a religious experience."

I almost didn't attend this concert. Last Thursday, I was scrolling through my twitter feed while half asleep in bed. I saw a submission from r/washingtondc of someone offering up a free ticket to the Volcano Choir show at the 9:30 Club. The submission had been posted for 7 hours and no one had claimed the ticket. I joked in my message, "I bet if you had posted anything about VC being related to Bon Iver, everyone would have jumped". While true, luckily the submitter was just like me: she wanted the ticket to go to someone who was a fan Volcano Choir, not necessarily Bon Iver. We met up and she took me up on my other for my spare City and Colour ticket for Tuesday. It was another successful Reddit experience to add to my list. I'm hoping this will pan out into have a real concert buddy in DC.

Around 4PM yesterday, the weather went haywire and thoughts were pondered on facebook about whether the "9th plague of Egypt was invoked upon us by God". Less eloquently put, it poured. I listened to Repave during my last hour at work, accompanied by green tea and dark chocolate, with the rain battering against our office windows. The right mood was present.

The doors opened at 7PM and I was right on time. Upon first arriving, there were approximately twenty folks ahead of me, some with umbrellas, some without. This was fair. I had high ambitions of getting a front row spot, but it was possibly a pipe dream. When we were let into the venue, I scored a second row spot, and I thought, "this will do".

I maintain the opinion that the only downside to attending concerts by yourself is all the waiting by yourself. A man in the front row started making "pacts" and "forming unions" with the other front row attendees - it was sacred territory and no one was to push their way through.. I started chatting with him and another guy about all the other amazing music that exists in today's world. I got scolded for disliking the new Local Natives' album (I'll have to give it another shot), was given recommendations to listen to Beth Orton and Kathleen Edwards and called them out for not knowing who The Shouting Matches or DeYarmond Edison were. After giving them their space and proving I was worthy of a front row spot, they opened one up for me.

Sylvan Esso opened and more than deserved to. Currently, they have two songs on the internet, Hey Mami + Play It Right and I can't get enough of either of them. Based on what we saw, the rest of their eventual release will also be fantastic. The stage presence was playful - I adored Amelia's fun attitude and dancing. Nicholas not only did a front row shout out, but also encouraged everyone to turn the last 15 minutes into a "dance party". Unfortunately, akin to Seattle, DC doesn't really dance at shows either. I told my front row friend once their set ended, "when they headline a show here next year, I'll also be in the front row for that". Hold me to it.

After the opening, our suspicions were confirmed. NPR was in attendance to film Volcano Choir's act. The videographer set up shop right in front of me. I'm really hoping I end up on this concert video - as they usually feature the audience as well.

Luckily for us, it was a short waiting period before Volcano Choir entered. While most of the audience was holding their breath for that first look at Justin, I don't think I let it out until the entire band assembled on the stage. I drew in more deep breaths as Tiderays started playing - we were in for a religious experience and I knew it was my only chance to compose myself before the music picked up. Tiderays was the perfect opening song for this show, much like it is the perfect opening song for Repave.

Comrade encapsulated everyone into this drugged-out trance state and it was the first (but, not last) time during the night where this happened. I looked around a few times and across the venue, people had the same exact look on their face and in their eyes. When Justin crooned with the synth at the end of the song, I experienced goosebumps running down my arms.

Keel, while being my least favorite song off of Repave, gave off this aura of comfort. I leaned over to my front row friend and expressed that "I had never felt more anchored in my life".

The song that stole the show was, surprisingly, Alaskans. This is another slower song off of Repave, yet it showcases so much of Justin's abilities. However, the audience cohesively singing "Rely, rely, rely, rely, behave, behave, behave, behave/ Decide, decide, decide, decide, repave, repave, repave, repave/ Inside, inside, inside, inside, the lade, the lade, the lade, the lade" at all the right moments and with all the right sound was *magic*. Even the band was floored at how perfect the audience participation felt - they quipped about how they should have recorded the vocals then and there.

The entire concert was building up to Byegone. Or, more importantly, that moment a little over half way through the song, where we're all bellowing "SET SAIL" with our hands up in the air. At this point, I was emotionally exhausted. The closing song was Almanac. I appreciated how the concert opened and closed with Repave's opening and closing songs.

By the end of the night, Volcano Choir played everything off of Repave, Island, IS, Still and two new songs. I'm relieved that new music, or "songs without a home yet" will be coming in the future. The two new songs sounded more rock, which demonstrates the vast range of styles this band can pull off.

To close, I want to express how grateful I am to have seen Justin Vernon in a more intimate setting. Having a front and center spot, meant seeing all the intricate details that did nothing but add to the experience: his moleskine which he referenced every song (in which, we can only wonder what brilliance is contained within), the way he'd kneel behind the podium after a particularly emotional song, the crocheted piece of art covering his podium, and how he didn't speak to the audience at all during the show. Volcano Choir isn't Justin Vernon, it's absolutely not Bon Iver and and there was never any doubt of that.