Parades-Foreign Tapes

Parades are the quintessential "new band" to check out from 2010. Not only do they present a fresh yet coherent sound which helps them stand out from the masses of fledgling bands, they do so in a way that I cannot imagine anyone who enjoys music having a problem with theirs. Parades' debut is instantly lovable, in the very best way.

The elements that make Foreign Tapes so good are not in themselves a highlight. The subtle horns in "Hunters" don't stand out enough to define the song beyond the gorgeous melodies and gentle piano chords. Likewise, reverb-laden guitars in "Marigold" and "Past Lives" don't make one think "Oh, that's kind of post-rock-y", even though the influences from that genre are obvious. The real core of Foreign Tapes is the seamless flow of the album from song to song, from dreamy pop numbers to more ambitious indie rock songs to somber instrumentals.

That's not to say the technical details on Foreign Tapes aren't fantastic. The vocals are a defining factor, a male-female trade-off which is as angelic as it is dynamic. The production is also impeccably good, with the loud drums giving the album a decidedly upbeat feel, even on the slower tracks. The instrumentation is incredibly tactful and layered, leading one to believe that this debut album was born from no small amount of blood, sweat, and tears.

The whole of Foreign Tapes is really much greater than the sum of its parts, though. The album ebbs and flows in a masterful fashion, displaying the restraint and songwriting prowess of a band far beyond its debut album. The mood of Foreign Tapes is perfect, creating a sort of dreamscape that is sometimes melancholy, sometimes uplifting, but never overbearing in either extreme. Parades have absolutely nailed it on their first try, and have established themselves in one fell swoop as one of the giants of the indie genre. A must-listen.

Listen and buy:

http://www.myspace.com/parades

Shearwater-The Golden Archipelago

Outside of the metal world, it's difficult to find music that attempts to capture the beauty and mystery that is nature. Especially from a pop perspective, it seems that the closest some artists get is a half-hearted string ballad or cheesy nature sound effects. Jonathan Mieburg from Okkervil River acclaim aims to remedy that with his personal project Shearwater.

Permeating the Golden Archipelago is an atmosphere of mystique, though not in a dark and somber way you'd expect from a concept revolving around nature. Instead, Shearwater gives the listener a sense of wonder with their music, continually altering the ebb and flow of the album from quiet piano-based ballads with subtle instrumentation to driven pop numbers featuring bombastic drumming and odd guitar work. Throughout it all, Mieburg and his band of eclectic instrumentalists keep the transitions from becoming awkward, instead inspiring a sense of anticipation about where the music will turn next.

On paper, this mishmash of sounds may sound awkward and overwrought, but the Golden Archipelago has absolutely perfect pacing. At the end of each song, most of which just over three minutes in length, the quiet instruments have layered just enough and the structure has developed only just barely past the point to where one is left wishing Shearwater would repeat that beautiful arpeggiation just one more time, or that Mieburg would croon his subtle hook once more, but that's always when the song ends and the next adventure begins. This sense of tact and precise direction gives the impression that Shearwater have been at this for a very long time and know exactly what they're doing, a far cry from most indie bands today.

It's really that sense of balance that defines The Golden Archipelago. It's soft without becoming too dull, catchy without becoming trite, simple without forsaking its unique sense of creativity, and immediate without neglecting to add little details that pop out after repeated listens. Aside from all the technical details, Shearwater displays an impeccable skill to imbue their music with an undefined x-factor, a feeling of likability that makes the listener think "this is just really good." The Golden Archipelago is a wonderful, textured, rich, and all too short album, and Shearwater have shown that they're one of the genre's best acts, regardless of whether Pitchfork notices them or not.

Song: Hidden Lakes

http://www.myspace.com/shearwater

This song exudes a Peter Gabriel-esque feeling, and showcases the mysterious, almost haunting nature of the album. The chord progression is gorgeous, and the addition of cello and bells as the song builds is subtle and fitting.

The Antlers-Hospice

Ever since I sort of grew out of Death Cab for Cutie, indie has been a difficult genre for me. To me, it's often difficult to hear what the "indie" tag adds to genres such as indie pop and indie rock, other than a snobbish sense of self-importance. Indie bands that live up to the hype proliferated by their coffee-drinking fanbases are few and far between.

Enter The Antlers. Essentially a one man project, the story behind "Hospice" bears a certain resemblance to Bon Iver's "For Emma Forever Ago", in which Peter Silberman coops himself up in his New York apartment for a year to write it. "Hospice" in itself is a different story altogether, one of the painful loss of a loved one to bone cancer as the narrator watches and cares for her.

So while the story behind "Hospice", and the story related by it, are enough to grab an indie skeptic's attention, it's the immediate aura of wintery loneliness, strange optimism, and aching heartbreak that defines this gem of an album. The ambient "Prologue" bleeds into the simmering "Kettering" where we are met by Silberman's soulful croon, perhaps the most intriguing part of The Antlers' music. Muted pianos and delicate electronics combine with his heartfelt verses to do exactly what an album with this kind of harrowing story should do-They pull the listener into the mood of the album and never let go.

"Hospice" also has the kind of consistency that separates average albums from genre landmarks like "Transatlanticism" and "For Emma". The strange bounciness of "Bear" works perfectly next to the despair of "Atrophy". "Two" features a simple lyrical device that makes it astoundingly catchy as it meanders through several clever paradigm shifts musically. And the breathtaking "Wake" utilizes Silberman's voice to its fullest effect, with a full choir of dubbed-over harmonies overtaking the music to create a satisfying climax to his heartfelt tale.

The Antlers have created a near-perfect work of art with "Hospice", and yet somehow it's completely devoid of the kind of grandeur that seems to occupy contemporaries such as The Decemberists and Manchester Orchestra. And that 's what sets it apart. The honesty and bare-faced simplicity of the music makes it all the more affecting. And what an affecting musical adventure it is.

Song: Kettering

Essentially the opening track, this gives you a good idea of what to expect from the rest of the album. Silberman's voice is present in all it's crooning beauty, and the music reluctantly climaxes after the halfway point to fully realize the trademark mood of the rest of the album.

Also, you can stream the entire album for free here (quick, easy, free, and totally worth it sign-up required).