When’s the last time you bought a rock album, lay down with the lyrics, and were moved? Check Google to see if there’s a record store still operating in your town and pick up Heal, the latest album from Strand of Oaks…because it just may be a masterpiece.

Tim Showalter is the musician behind the project, and has delivered in Heal a frighteningly emotional album, bare-souled and full of tremendous, joyous pain. Strand of Oaks has put out good tunes before, but something is markedly different here.

The album’s central themes of regret, alienation, and lost youth may have been sparked, at least in part, by musician Jason Molina. In the song “JM”, Showalter sings directly to the midwestern rockstar.

I was just an Indiana kid
Getting no one in my bed
But I had your sweet tunes to play

Molina died in 2013 due to extreme alcoholism. Showalter can’t seem to shake that dreadful truth, his homage laden
with dark, dead end memories. Even the guitars seem to be crumbling, and then crashing down, all around him.

The album serves as a memoir, with candid and relatable recounts of rocky relationships. This is negative nostalgia, stark and accessible. Even upbeat songs lack the optimism that could drive this album anywhere close to pop.

Lyrics are complex and unsettled. In “SHUT-IN”, Showalter is stuck in a solitary depression, almost with pride.

I ain’t talkin’ about money
I don’t wanna talk about love
I hate thinking’ I’m not the same as I was
I lose my faith in people
Why even take the time?

Musically, the album spans several rock sub-genres. “SHUT-IN” has moments that evoke Springsteen at his best. “WAIT FOR LOVE”, the album’s closer sounds like a Coldplay of an alternate universe, raw and evocative. Some moments are folksy Americana, and some approach classic heavy metal. A front-and-center synthesizer on “SAME EMOTION” conjures a retro 90′s vibe in the closing solo.

Long considered a folk act, Strand of Oaks may have just delivered the rock album of the year. One hopes that Showalter was able to experience catharsis after bringing it to the public with such urgency. He has here proven himself a capable songwriter and frontman, deserving of the attention of the rock world.

© 2014, The Indie Mine. All rights reserved.

With the release of their 2009 self-titled album, The Pains of Being Pure at Heart were hailed as a noise-pop nostalgic throwback to the care-free, alt-rock 90s. Their third album, Days of Abandon, marks a turning point for the band, marked by maturing songwriting, a cleaner sound, and a shedding of the youthful whimsy that set them apart in the first place.

The saccharine vocals are still there, and upbeat tracks like “Simple and Sure” are still very much the old Pains. What’s different is the deeper level of craftsmanship here. No longer wearing naïveté as a badge (whether intentionally or not), frontman Kip Berman has evolved the production of his sound to include more dimension and richness. ‘Beautiful You’ may be the best example of this, with a soft choral melody over guitar pop that is at once nuanced and at full bloom, tender yet strong. It’s hard to imagine this effect being possible on their last two albums.

There’s more ambition here, and it pays off. On “Life After Life”, horn arrangements and angular melodies strike an imaginative balance against Berman’s aesthetic of guitar-centric pop. Skillfully executed, tracks like this never fall victim to the bombast of their alt-nostalgia contemporaries…or of their second album.

Berman’s songwriting is more canny here as well. “Coral Gold” is at once drunk on romance and a sober expression of love unrequited. “Coming down to where I’m found / your silent vows / steal the life from me.” Berman seems more than ever a songwriter who is reconciling his heartbreak, not just communicating it with starry eyes.

On the flip side, however, something may have been lost amidst all this evolution. Tracks like “Euridice” and “Art Smock” are so refined, they seem to lack the same raw heart that makes their earlier work so dynamic. While not necessarily sterile, there is a loss of the visceral here. Berman’s heart-pounding intensity is no longer the engine of his work, partially abandoned. Is this new sophistication is worth the loss?

What is gained here is more reflection, more grace, more subtlety. Berman is getting closer to finding himself as a songwriter, so Pains fans may do well to get on board with this finer-tuned version of the band. Less thrilling though it may be, this is also Berman’s most personal record to date, and certainly his most self-assured. Perhaps this will serve as a kind of recalibration, seeing the Pains through to something much more than their buzz band beginnings.

© 2014, The Indie Mine. All rights reserved.

Tideland – Lull

Tideland hails from Sterling, Virginia – a town with a history of notable local bands within the independent punk and hardcore scene such as pg.99, Sail, and Pizza. In the wake of their predecessors, Tideland has effectively carried the torch, continuing to create songs that will have you thinking it’s actually 1993 again.

With Lull, their latest full length album, they’ve effectively blended grunge rock with infectious, toe-tapping melodies. Each track is driven by grunge rock guitars and Jon Hand’s unique vocal style. The opening track, “Starbound”, begins with a heavenly drone that builds into a frenzy of rolling drums and guitar. Despite the obvious punk influences in their style, Tideland throws in a healthy dose of shoegaze elements, reminiscent of bands like Hopesfall.

While listening to Hand’s vocals, I couldn’t help but think of Doug Martsch, especially in “Carved in Mine” as the guitars complement each other with crunchy distortion and clean melodies. “Desolate” takes a slight departure from the other songs with a slower tempo and a bit of a Western feel. “Dinosaur” is another standout track with a mix of beauty and rawness fueled by the pleasantly dissonant combination of distortion and slide guitars. The closing track, “Way To Die”, ends the album on a contradictory note with a hint of both bittersweetness and optimism. As the guitars fade out, there is a sense of finality and hope that connect back to the buildup at the beginning of the opening track, and it feels like everything has come full circle.

Lull only features eight tracks, but each is robust and never disappoints. Every song stands perfectly on their own, but the album does have a consistent flow that is best appreciated with a full listen. Many bands are desperately nostalgic, looking to reclaim the glory days of music in the 90s, but Tideland pulls it off effortlessly and without pretense. Fans of influential artists like Sonic Youth, Treepeople, and Dinosaur Jr. will definitely appreciate the purity and authenticity of Tideland’s sound.

Lull is available for purchase on Bandcamp in assorted formats including mp3, CD, tape, and 12” vinyl.

© 2014, The Indie Mine. All rights reserved.

Wonder Villains – “Marshall”

Derry City’s anti-pop quartet Wonder Villains are what modern pop music should hope to be but so often is not – they’re actually fun. Born in a Northern Ireland high school in 2009, they are preparing to release their first full album, Rocky, in June, and the band seems to have really solidified their character. Sprinkled with Mother Mother-esque vocal flourishes, Wonder Villains have all the charm and color of Tilly and the Wall and the no-nonsense lyricism and energy of The Wombats – but they are indisputably one-of-a-kind. Still drifting in the ambiguous grey area between adolescence and adulthood, the group’s sound is mature beyond their years, yet they never once come off as self-indulgent or pretentious.

While it may be common practice for reviewers to grasp at straws for something favorable to say or to over-inflate their sentiments in order to inspire interest in their writing and appease others, it is important to me that I am honest about my opinions and that I give credit only where credit is due. That being said, from the moment Eimear Coyle’s infectious vocals came in over the pumping pop-punk guitar and bright synth, I felt a sneaking suspicion that I had stumbled upon something truly special, and I had no choice but to share it. My impression was validated when, several songs into their discography, my exceptionally discerning boyfriend declared with an almost evangelical enthusiasm, “I love this!” “Marshall” is refreshingly modern, yet it strikes all of the right nostalgia chords that make music stick with you for a long, long time.

“Marshall” is currently available for streaming on Soundcloud, or, for the full experience, have a look at the foursome’s freshly released music video for “Marshall” on Youtube.

© 2014, The Indie Mine. All rights reserved.

Margaret O’Sullivan of Femmepop

Femmepop’s leading lady, Margaret O’Sullivan, is back with her third single, “Timescapes”. The infectious pop track is a collaboration with Timecop1983, the mastermind behind the synth loops and pulsating beat. Ms. O’Sullivan provided the lyrics and vocals, and together the two create a dreamy and uplifting electronic track that will stick with you.

O’Sullivan’s vocals are sweet and delicate, with powerful lyrics like, “Those days will never die cause they burn inside of me.” Delving into themes of memories and the pain of leaving someone behind, her vocals pour out with honesty and the power of love. At times, O’Sullivan’s voice is reminiscent of Madonna’s style in the 80s, accompanied perfectly by Timecop’s dreamy synth. Fans of the Drive soundtrack will also appreciate the track’s electronic 80s feel.

Femmepop’s debut album is slated for a summer 2014 release. “Timescapes” is available as a digital download from Bandcamp, and you can also listen to her previous singles, “1983” and “Beautiful Boy” as well as her 2009 EP, Kick.

© 2014, The Indie Mine. All rights reserved.

Go Life is the dreamy new solo project of UK artist, Rhys Viney.

The second track, “Waves,” also features a prominent synth pop sound. What starts out as a slow, methodical rhythm evolves into a pulsating declaration with solid bass drum carrying the track. Viney’s thoughtful lyrics and soft vocals are tinted with pop undertones as dreamy surf guitar interjects his thoughts of loneliness and heartache.

Both “I’m Not Really Here” and “Waves” are strong tracks with a clean, polished sound. So far, Go Life carries a consistency in feel without sounding dull or redundant, and it is evident that there is a tremendous sense of creativity and genuine emotion that went into the lyrics and composition. Go Life is an aptly named project, emanating all that is and all that is possible for everyone.

“I’m Not Really Here” and “Waves” are both available for free to stream or download on SoundCloud. You can also check out Go Life’s first singles, “Keep Breathing” and “You And Me.”

© 2013, The Indie Mine. All rights reserved.

Delta Will – It All Glows EP

Delta Will’s four-track EP, It All Glows, is a spacey, artful narrative with a bluesy, folksy soundscape of vocal overlays and subtle atmospheric synth washes. It chronicles the alien Delta Will’s exploration of humanity and earthly life through the eyes of the human Charles Tilden. Lyrically, it is a welcome reprieve from the mundane songwriter-centric direction of much of music across every genre.

It All Glows is lush and warm with an unassumingly whimsical tone reminiscent of Miniature Tigers’ sophomore album, Fortress. Tilden’s melismatic vocals are honey-smooth as he maneuvers through registers and dynamics, carrying the melodies confidently, but never becoming overbearing or contrived. The pleasant energy of the title track lends it a nostalgic sweetness that brings to mind Weezer’s “Island in the Sun” and ambient bird chirps and conversational mutterings at the conclusion of the instrumental track, “Space Throws”, conjure imagery of crisp sunlight and green foliage. “Holy Ghost”, the most understated song on the EP, features Fleet Foxes-esque arpeggiation and spacious vocal reverberation. The album’s buoyant attitude juxtaposes the somewhat morbid lyrical content in a way that is evocative of the Tralfamadorians’ observations of the universe in Vonnegut’s Slaughterhouse-Five; Delta Will acknowledges the peculiarity and transience of existence without being overly mournful or sentimental.

It All Glows is imaginative while remaining cohesive through textural instrumentation, artistic assuredness, and high production value. The title track is the highlight of the album, and while the energy does die down as the album progresses, none of the songs overstay their welcome. After two EPs, Tilden seems to have a firm grasp on his creative vision, and hopefully he will continue to pursue the musical direction demonstrated in this album.

You can listen to two of the tracks from It All Glows on Bandcamp or Soundcloud, and both physical and digital copies of the album are available for purchase through Bandcamp and iTunes.

© 2013, The Indie Mine. All rights reserved.

Tomas Sen – Try Solitude

Try Solitude is an eclectic, experimental album riddled with acoustic guitar and prominent piano melodies mixing with programmed drum parts and vocal samples. The debut from Jeff Thomassen was recorded in his home studio, and at just 17 years old, the Lafayette native came up with his moniker in honor of his family – one of the many themes that comes up during the course of the album. Try Solitude is somewhat of a concept album with an array of ideas that come together ranging from self-identity, love, spirituality, social injustice, solitude, and passion.

It is a reflective album with each song relating to a specific theme. Thomassen’s fascination with concept albums influenced the direction of this album. From start to finish, Try Solitude is really a journey of a young man trying to feel things out. The lyrics are poetic narratives that clearly show Thomassen’s curiosity with every facet of life. And he does so in an insightful way, with maturity beyond his years. The pseudo-concept album angle could have easily gone awry, but the honesty and passion takes it to another level.

Thomassen’s fondness of nostalgia also shows in a few tracks, particularly “Phantom Jealousy.” There’s a distinct flair for a retro sound with nods to 1950s pop music reinforced by doo-wop style vocals. “The Human Farmers” incorporates some elements from early indie masters like The Pixies and They Might Be Giants. But more modern sounds are featured on “On Earth as It Is in Heaven” with a strong synth pop flair. This broad range of influences is the perfect complement to the concept album, giving it more dimension than solely relying on the storytelling component.

The downside is that all this diversity keeps the album from having a sense of cohesiveness. Each song is good in its own right, but the tracks don’t flow together as well as they could. Every song has such a strong identity that at times contradicts the others.

Overall, Try Solitude is a high quality debut with a unique twist on what can be considered a concept album. It’s creative, reflective, and an impressive first showing from a young, emerging artist.

You can purchase the album in its entirety as a name-your-own-price deal from Bandcamp here.

© 2013, The Indie Mine. All rights reserved.

“Accolade” is the energetic debut track from Stickman Cartel.

London-based Stickman Cartel have been hard at work on their upcoming single, “Accolade.” Their debut track features pulsating synth, funky bass, and soulful vocals. Singer Ben Friedman’s conviction is strong in both his vocals and writing with lyrics like, “It’s a drop in your ocean – give me the accolade I deserve.”

But don’t let all of the lyrical venting fool you – “Accolade” is definitely a dance track. It’s fun, catchy, and it’s meant to get your feet moving. The song starts with “Baba O’Riley” style keyboards as the tension mounts, giving way to a burst of energetic beats in the chorus. The band officially considers their style as “indie disco” and it’s a fairly apt description. There are definitely some 70s influences with the guitars, and the drums consistently carry a strong disco cadence.

Stickman Cartel have also been known for translating their dance sound into high energy live performances. For those of you across the pond, the band will be holding a launch party on August 28th at The Waiting Room in London. If you can’t make the show, you can still stream “Accolade” here until its official release on September 2nd.

© 2013, The Indie Mine. All rights reserved.

Chris Christodoulou creates an auditory adventure for the upcoming space platformer, Risk of Rain.

Music and sound effects can often be a blessing or a curse for a video game. The audio can either enhance an already great game, or sabotage the developer’s efforts with annoying or repetitive audio that distracts from the gameplay. Luckily, the creators of the upcoming action platformer, Risk of Rain, have scored a talented composer behind the game’s original soundtrack.

Chris Christodoulou has been infatuated with music since a young age. He began by taking music lessons, and went on to study music theory in Athens. It was around this time that Christodoulou also joined bands of varying genres, lending his skills at the keyboards and drums. It’s these diverse influences that came through and helped shape Risk of Rain’s unique sound. The soundtrack is not just an ordinary chiptune album – Christodoulou’s musical background adds a level of refinement that accentuates the feel of the game.

Risk of Rain takes place in the future in which there is only one survivor after a space train crash. The story unfolds on a mysterious planet with bizarre creatures and events for the protagonist to contend with. Christodoulou’s eerie synth effects paired with heavy rhythms help convey the sinister vibe of the environment and the gravity of the situation.

Much like the music from Bastion, the game’s soundtrack has some modern rock mixed with some chiptune elements. “Double Fucking Rainbow” (by far the heaviest track) is a good example of this with fierce guitar solos and double bass thundering under electronic blips. There are also some more down-tempo songs like “Coalescence” that has a sort of hypnotizing effect with its looping melodies. Christodoulou even throws in some hints of jazz on “Aurora Borealis” and a little R&B on the closing track, “Chanson d’Automne..” for an urban, industrial feel.

Listening to the soundtrack from start to finish really gives you the feeling that you’ve embarked on an epic and perilous journey in space, and there is a definite sense of progression and continuity among all of the tracks. Overall, Risk of Rain OST does an excellent job of adding to the story and enhancing the overall atmosphere of the game.

Risk of Rain can be pre-ordered at Bandcamp for €4 (or about $5.34) in which four tracks are immediately available to download. The full album will be available once it’s officially released on September 4th. For those interested in the game (also set for a fall 2013 release) you can try the demo now or pre-order it here.

© 2013, The Indie Mine. All rights reserved.