Listen: Salt Cathedral - "Unraveling" ft. Matisyahu

One of the most thrilling things about Brooklyn based Columbian electro pop duo Salt Cathedral is how they continue to push their sound forward without losing their sense of self. It's an all to easy thing to do especially in the pop realm where being able to pull from/pivot into different sounds and influences is pretty much expected but since the earliest days of the band and it's previous incarnation il abanico, Juliana Ronderos and Nicolas Losada have been able to retain something uniquely theirs even after they shifted from experimental prog rock quintet to just a duo.

"Unraveling" largely continues that tradition. Where previously released "Lift Me Up" and "Homage" were sample based b-sides, the production on "Unraveling" both resembles that of songs from their OOM VELT EP while also taking things in a different direction. Part of that may be in fact due to the nature of the collaboration with Matisyahu. Known for his spiritual take on reggae, the most surprising thing is how similar Salt Cathedral's penchant for tropical-inspired rhythms fits with Matisyahu's own style ensuring a collaboration that comes off as pretty effortless. Ronderos' vocals have always been the ace up Salt Cathedral's sleeve and though they're not as featured prominent as Matisyahu's riffs and raps, the moments the surge to forefront are enjoyable. Ronderos and Matisyahu's lyrics form an interesting parallel despite the difference in who they're addressing. Ronderos' are direct; a sort of aggressive nonconfontation "If you're looking to fight me, intermittently all I have for you is bread and flowers"/"If you're looking to bring me down, you won't find me, you won't find me at all" Ronderos offers lyrics that are such an active presentation of meeting animosity with love and positivity. Matisyahu's are intially more abstract but much more visceral. Delivered upward/internally, his lyrics are more appeals for strength to confront those challenges.

"Unraveling" shows off more of Salt Cathedral's versatility as it utilizes a different musical style and imbues with the bands own strengths as well as introducing other players into their orbit. Salt Cathedral's production in "Unraveling" is sure and confident enough to actively represent them as they allow Matisyahu to take the reigns and the main focus. It was a surprising step but one that ultimately succeeds due to the duo's strong sense of self. Whether the duo's upcoming forthcoming full length debut will feature more collaborations I don't know but based off how seamless their work with Matisyahu was, I have faith that others will stay true to the band's distinct character.

Listen: Salt Cathedral - "No Ordinary Man"

It's been awhile since we've heard anything from Brooklyn via Colombia duo Julia Ronderos and Nicolas Losada of Salt Cathedral. Back in 2014, the duo rang in the year with b-side "Rainy Days" that both ushered in their shift from the rhythmically complex, experimental rock pop left over from their days as il abanico, introducing the newly pared down lineup, as well as wetting fans appetites for a brand new EP of songs they release later that year.

Which more or less bring us to now. Salt Cathedral have mainly stuck to playing shows since the release of their OOM VELT EP with very little promised in the way of new music. Until earlier this year when they announced a brand new song would be coming. "No Ordinary Man", the latest single from Salt Cathedral pretty much follows directly after pretty much any of the OOM VELT cuts in terms of production. But unlike the infectious, skittering "Tease", "No Ordinary Man" instead pulls both from the balladry and minimalism of "Holy Soul" and "Good Winds". Ronderos' emotive vocals has been the one constant through Salt Cathedral's various incarnations and they're rightfully spotlighted on the new track. Simplicity is the name of the game as the textural layering is kept to an absolute minimum, providing a harmonic bed of synths for Ronderos' vocals to soar over. That's not to say the band don't make the most of their newfound electronic leanings. Their touch is impressive light - going from lilting big drum beats to a quicker shuffling figures and subtle glitch effects in gradual shifts that doesn't draw attention from the vocal melodies.

"No Ordinary Man" is another pitch-perfect example of Salt Cathedral being able to embody the best aspects of electronic music in a way that's beyond simple copycatting. The band aims more at creating resonating musical moments than electronic grandstanding which helps root their genre shifts in sincerity and not just an attempt at trend chasing. Salt Cathedral has always excelled in balladry but here's hoping the ability to create interesting moments from simple arrangements follows continues past "No Ordinary Man" as the band hopefully release more new music this year.

All Around Sound's Favorite Tracks of 2014

While 2014, in my opinion, resulted in a lot of albums that amounted to nothing all that special the same can fortunately not be said for the individual tracks. From one-off singles, to that album-centering track, to even the exceptional b-side, 2014 was a year of welcome surprises in terms of singular musical output. It was a year of anticipation (whispers of Joanna Newsom finally releasing the follow up to 2010's Have One on Me intensified this year in particular) and managed expectations that ultimately delivered if you just stopped the guesswork and let everything unfold how it was meant to. There were a lot of stand along songs released this year but here's some of my favorite songs to come out this year - the one's I found myself returning to again and again.

Julie Byrne - "Prism Song", Rooms With Walls And Windows
I'm always on the lookout for new singer/songwriter and folk music in general so when not only one but two of my friends suggest I give Julie Byrne's album a spin I took to it with an almost abnormal sense of propriety considering it usually takes me months if not years to heed musical advice. What I found in Julie Byrne's music - specifically "Prism Song" was a charming simplicity and an engaging sense of sincerity. Byrne's vocals are beautiful but more importantly her lyrics sound with a beguiling honesty. Byrne manages to draw out all of emotion effectiveness from her "I never would've known what you could have meant to me" with not a ounce of drama; a simple heartfelt reflection.



Mimicking Birds - "Owl Hoots", Eons
I've said it before and I've said it again but I am totally terrible at listening to suggestions from friends. When I went to SXSW earlier this year, Dave Greenwald from Rawkblog suggested I hit up a Portland music showcase - firstly because I like a lot of bands from Portland. Secondly for one band in particular - Mimicking Birds. I told him I'd think about it and then got carried away on the deluge of other music, tacos, and BBQ that I totally forgot to give it a second thought. And then a number of publications started writing about Mimicking Birds as one of the festival's standouts. I had missed a prime opportunity to be a part of history. When I finally sat down to listen to Mimicking Birds it was exactly the kind of thing I knew I would've enjoyed live. On Eons, I was immediately taken with frontman Nate Lacy's lyrical specificity. It was similar but not congruent to that of The Heligoats' Chris Otepka and relies on a similar slow build. "Owl Hoot" is easily the Eons' standout track, not surprisingly chosen as the album's first single, is a perfect showcase of what exactly Mimicking Birds have to offer. The trio play their cards close to their chest - gently unfurling the song's rich textural tapestry in manner belying the specter of insistence that threatens to catapult everything into greater action. And yet, "Owl Hoots" manages to keep everything firmly restrained, steadily building energy and urgency while damming those very things that would undo them. The band take their cues from Lacy's vocals but even as his vocals rise both in volume and fervor, there's an admirable sense of control that is never quite lost.



Ólöf Arnalds - "Half Steady", Palme
While the Icelandic singer/songwriter pushes her boundaries and standard practices on all of Palme, there's no greater display of Arnalds stepping out of her comfort zone than "Half Steady". Working with Gunnar Örn Tynes of múm Arnalds essentially distorts her sound like that of a fun house mirror. While Arnalds still sings with a very human cadence, there's hints of her going for more clipped, inorganic imitation of the track's more electronic elements. It's the most dramatic display of Arnalds pushing her sound when the rest of Palme aims for a subtler balance of synth and Arnalds more traditional folk oriented sound.



Damien Jurado - "Magic Number", Brothers and Sisters of the Eternal Son
There probably isn't a more pitch perfect way to kick off Damien Jurado and Richard Swift's second collaboration Brothers and Sisters of the Eternal Son than "Magic Number" - immediate but mysterious; it's a proper bit of musical world building for an album that relies almost purely on a world of Jurado's creative imagination that also demonstrate just what Swift's been able to draw out of Jurado during their shared time together. Jurado's intricacy of lyrics carries over to the song composition - like the entrance of the booming brass and swelling strings central in establish, before Jurado's first words are even uttered, an intriguing sense of uneasiness.



Olivia Quillio - "Easy Killer", The Bomb
The road to Albany based singer/songwriter Olivia Quillio's debut studio album seems like a far longer one than it's been. But while it's only been three years since I stumbled upon her while attending a show of mutual acquaintance, the lack of a true album from Quillio stung purely because she's such a consummate live performer she is - her blend of jazz, soul and folk giving her a distinct voice on top of her electric live presence. No one sound be able to draw so much sensuality from the ukulele and yet, Quillio does so. The Bomb leans a little harder into Quillio's jazz background than any of her previous efforts or she generally gets live due in part to the her talented musicians but the record isn't without it's eclectic tendencies and "Easy Killer" is perfect display of what Quillio brings to the table in addition to being a favorite live staple.





Salt Cathedral - "Rainy Days"
Why Salt Cathedral considered a song as great a "Rainy Days" to be a b-side I don't know. While it's true that it doesn't fit with the retooled vibe of their OOM VELT EP, "Rainy Days" is a jam and the first taste many listeners got to their shifting electronic setup. "Rainy Days" was a happy medium between the intricate tropical-infused rhythms of Salt Cathedral's il Abanico days and the self-titled EP they released last year and the paired down sample-laden synth-pop of OOM VELT and it was for all intents and purposes their best song (before the OOM VELT EP streeted and "Tease" could be sampled). If Salt Cathedral considers a song like "Rainy Days" to be a throwaway track, then every band needs to worry because some bands would kill to have a song as effortlessly dynamic, so obsession-inducing catchy as this one. It would be the keystone of an entire album but Salt Cathedral believed they could achieve better but also saw enough of it's greatness to at least let it out into the world to be enjoyed instead of shelving it. And for that we owe Salt Cathedral the most sincerest gratitude.



Milagres - "Terrifying Sea", Violent Light
It's an achievement for the Brooklyn experimental pop quartet Milagres that on Violent Light, they were not only able to power up their sounds - leaning far more heavily into synth pop and glam rock influences but also retain quite a bit of heart. Kyle Wilson's vocals have always had the ability to be affecting regardless of if he was singing about sherpas or terrifying beasts so when he turns his lyrics inward toward feelings of love and validation like in "Terrifying Sea", they pack an extra wallop. There's grandiose pop moment packaged around the sincerest of intentions at its core and it resonates deeply in a way that's beyond the purely enjoyable majestic delights of Violent Light.



Slow Club - "Complete Surrender", Complete Surrender
Sheffield duo Slow Club have certainly come a long way from the cute folk-pop days of Yeah So. Complete Surrender, their third album, find the twosome growing up and growing into a sleeker and more blatantly pop sound that's definitely rooted in the retro pop aesthetic without allowing it to be just that. The title track is perhaps the best encapsulation of the band's flirtations with decadence, building off Rebecca Taylor's drum loops and blending her and Charlie Watson's voices in a way they haven't really allowed themselves to in bit. It's raw emotion with polished pop sensibilities. "Complete Surrender" is a vocal showpiece even despite the orchestral flourishes, with Taylor going in on a dramatic, big voiced delivery befitting of a true pop star. The arrangements simple but effective, "Complete Surrender" establishes the take-no-prisoners emotive power that the band (now expanded into  four piece) go for with the album's ballads and tales of woe. It's definitely one of the album's standout moments of opulence but classically so - like a cocktail dress or eye-drawing piece of flair rather than a full on spectacle.



Skrillex - "Coast Is Clear" ft Chance the Rapper &The Social Experiment, Recess
Well, this is a surprising development. So often we respond with a knee jerk reaction to certain pop culture trends that we aren't totally aware we might be shutting down something valid. I hadn't listened to Skrillex before but somehow got swept up in the collective opinion (at least of non-club kids) that his music wasn't worth paying any attention to. It wasn't until blog faves Hundred Waters signed to his label OWSLA that I realized there was some sort of superficial cognitive dissonance at play here and so with Hundred Waters' in my mind I set out to at least give Skrillex's first full length effort Recess a shot. It was a record I found myself unexpectedly enjoying despite a wary suspicion of dance music. There were moments on the album where I knew if I was in a club or bar I would've started outright dancing to, if not simply tapping my foot. One of the album's not-so-hidden treasures is a collaboration between Sonny Moore and Chance the Rapper. It's a track that eschews the social politics Chance dips into for a much more beguilingly silly romp as Chance plans his escape from the club for a potential one-night stand. On the production end - there's a fairly balanced blend of the electronic and the other all happening at rather impressive gallop. Consistently rapid beats and trumpets swells give way to a break down where everything is pulled back to rebuild everything bit by bit from just beatboxing and a solo piano line. There's all sorts of little tics in the song's construction but it's almost immaculate how the whole thing proceeds at a sprint. It's as much of a testament to Moore's skills as a producer as to the musicianship of all involved - Chance and The Social Experiment included.




Emily Reo - "Peach" (Yalls Remix), Olive Juice Remixes
I'll be honest, whenever I see the word remix I immediately roll my eyes and move on. It's not about seeing the remix as a less valid form of music but rather that I'm almost always unimpressed with the results. It takes a really really good remix to make me take notice and congruently one that is seemingly forced on me. The fact that I heard Yalls update on what's arguably my favorite track from Emily Reo's full length debut was pure coincidence. It played during a between set DJ session from Yalls at this past SXSW and it was enough to make me stop in my tracks. While friends used the set switch over to catch up and make plans for later during the day/week and make notes, I focused my energy on getting closer to the DJ booth so I could ask: "What is this?" A part of a larger effort put together by Reo to remix several of her album tracks, I found myself returning to this remix over and over despite the multitude of options on the remix album. I was fascinated by Yalls ability to manipulate Reo's voice in a way not unlike she does herself. It was a pitch perfect amount of give and take - Reo's fluid melodies endured while Casey clipped and glitched up her vocals.



The Antlers - "Surrender", Familiars
From the ruthlessly heartbreaking Hospice, to the art-pop experimentalism of Undersea, The Antlers have made it a point to challenge themselves both lyrically and aesthetically on every release. Though Hospice was their breakout record, the seeds of their innovation were planted as far as 2006's Uprooted - Peter Silberman's folky solo jaunt under the Antlers moniker. Familiars works well as the summation of all of The Antlers' work so far -  combining the strengths of each album with the band's desire to push forward. The Antlers' open up their sound, enlisting the aid of more brass than Darby Cicci's trumpet and cello. Familiars proceeds at glacial thaw, somber instead of just outright sad. "Surrender" however is a notable bright spot. It features less of the album's ethereal sprawl and functions more as a full band showcase - there's a borderline jazzy undercurrent; a nascent groove accompanying Silberman's gentle vocals that swells up during the instrumental breaks. The Antlers have always excelled not only at full album concepts but smaller scale narratives but "Surrender" appeals to those that just like the band being a band. It has the right amount of pop momentum, bringing in the album's new additions while building them around the core trio.



Jessica Pratt - "Back, Baby", On Your Own Love Again (forthcoming)
At the very start of this year every music lover worth worth their salt was a buzz with anticipation and delight when out of the blue a new tune by the name of "Game That I Play" popped up from San Francisco singer/songwriter Jessica Pratt. It was the first signs for many of Pratt making any moves to follow up her enchanting 2012 self-titled debut. It was a tune that disappeared almost as mysteriously as it appeared however with the most recent announcement of her sophomore record On Your Own Love Again, we got a consolation prize of sorts in the form of the surprisingly lush "Back, Baby". It, with it's slight tease of a poppier direction, hinted that the new album would not just be more of the same from Pratt without completely upending the delicate simplicity of Pratt's songs. While we've got to wait until next year to see how that actual pans out, "Back, Baby" does fit into the effortless timelessness Pratt conjures up so well.




Panda Bear - "Mr Noah", Mr Noah EP/Panda Bear Meets the Grim Reaper (forthcoming)
It's hard to imagine that there was once a time when I didn't listen to Panda Bear but that time was actually not that long ago when it was strongly recommended I give Person Pitch a dedicate listen. One of the exciting things about Panda Bear (and the Animal Collective crew in general) is that he's constantly making tweaks and adjustments to his own music making process. No two songs sound similar despite the similar method of construction and the differences between albums is magnitudinous. Whether or not you liked Tomboy, there's no denying that on "Mr. Noah", Lennox is putting his best foot forward. It's a delightfully poppy jaunt that doesn't trade in any of Lennox's trademark textural play. My favorite thing about Panda Bear is the ease in which he appears to arrange a track's multitude of layers and there's no shortage of that on "Mr. Noah" - our first peek at his upcoming full length return. It's a track strong enough to singlehandedly sell me on the record and one that Lennox feels strongly enough about to anchor a whole other set of songs with.



Tiny Ruins - "Me at the Museum, You at the Wintergardens", Brightly Painted One
It's almost unfair how good of a songwriter Tiny Ruins' Hollie Fullbrook is. Take "Me at the Museum, You at the Wintergardens" - instead of an elaborate conceit it's sole driving force gestates from a desire for togetherness. It's a love song but one so effortless in its pining, so breezy in its delivery; so uncomplicated in its presentation. The track's simplicity suits Fullbrook and elevate "Me at the Museum, You at the Wintergardens" not only to one of Brightly Painted One's tracks but one of those songs you can't help but go back to again and again once you've heard it. It helps that it's a brief 2 minutes and change - offering just the right amount of narrative closer and giving you more bang from your obsession-based repeat buck.



Sondre Lerche - "Bad Law", Please
While my favorite song on Norwegian singer/songwriter/guitarist extraordinaire Sondre Lerche's seventh studio album pretty much changes depending on the day, there's a special place both in my heart and my ears for "Bad Law". The lead single from the mercurial dance party that is Please, it's so dramatically unlike anything Lerche had previously done that it has an almost jarring appeal. Ear-catching and infectious have always been a hallmark of some of Lerche's most popular jams but he's never allowed himself to go as downright dance-y as he does on "Bad Law" to it's great strength. It's a stylistic shift that fits both the renaissance spirit of Please and Lerche's own songwriting that expands his textural palette in a way listeners wouldn't ever have expected. A rebellious swagger and a frenetic energy combine in a passionate blend that finally captures Lerche's electric live performance for the first time on a studio record that's incredibly exciting and endearingly refreshing.

All Around Sound is Turning Four - Day 4: Salt Cathedral (Umami Vol. 2)

My discovery of Brooklyn based Colombian born experimental pop crew Salt Cathedral is probably the best endorsement for showing up on time for a show I could ever give. Lured to their set by Hundred Waters who were in turn opening a show for Freelance Whales, Salt Cathedral (then called il abanico) were by far one of the most dynamically unique bands I'd ever seen. Fusing prog rock intricacy, with complex rhythms but a clearly defined pop sensibility I was enamored almost immediately - torn between the urge to dance my heart out and stare jaw agape in awe. They were the kind of band, I would later discovery, you could catch again and again and never, even for an instant, feel any sense of predictability.

Last year, Salt Cathedral premiered a mix over at This Is Fake DIY and in that instant or rather the instant the mix faded from my ears I knew I wanted one of my own and when tapped to do so, they were gracious enough to oblige and not only that continue the series that had begun on This Is Fake DIY - Umami. Meaning a pleasant savory taste, Umami (both Vol. 1 and the second volume presented here) is a collection of tunes the band could and does cook to, eat to, and probably relax to immediately after. It's nonabrasive but beyond mere fluff. Songs with real meat in them but not enough to fill you up but just to give you a hankering for more. Essentially, it's my kind of mix.

Salt Cathedral's contribution:

All Around Sound Blog Birthday Mix - Umami Vol. 2 by Salt Cathedral by Allaroundsoundblog on Mixcloud

All Around Sound's Favorite Tracks of 2013

While 2013 turned out to be an off year for many of my favorite bands, there was surprisingly no shortage of new music from them anyway. While every year I seem to lament the decline of the album as a cohesive narrative and more as a home for a single or two, 2013 proved me wrong in that regard - many of my favorite songs (the songs that stuck with me long after I put down my headphones, etc.) happened to be from my favorite albums but when making this list I have only two rules: 1) No songs from my favorite albums should be on the favorite tracks list. 2) No repeat appearances by the same artist. This year more than any other it was harder than ever to stick to these rules (I've broken them in the past but not this year! I promised myself.) So without further delay, here's some of my favorite tracks of this year in no particular order other than release date.

Unknown Mortal Orchestra - "Swim and Sleep (Like a Shark)", II
I'm ashamed to admit that I essentially forgot all about this tune/this year's latest UMO record until right around Best Of season. While the majority of II sounds rather like it could've easily been included UMO's self-titled debut, "Swim and Sleep (Like a Shark)" stuck out as one of those tunes that's so remarkably distinctive. Much of Unknown Mortal Orchesta's songwriting aesthetic involves such heavy repetition that it's hard to remember that it's actually pretty damn inventive. Take "Swim and Sleep (Like a Shark)" whose lyrics I never really took note of until UMO released their acoustic Blue Record - manages to spin a whole delicate yarn out of a fun fact about sharks. It also really highlights Ruban Nielsen's vocals in a way I never appreciated them before - soft and supple, even as the track pulses forward unrelentingly.



Local Natives - "Breakers", Hummingbird
It's no coincidence that my favorite track from Local Natives' triumphant sophomore effort is the first single. While Hummingbird is unfettered emotional flood, "Breakers", curtails a little bit of that in favor of a subtle build and noticeable pop sensibility much like a port in the storm. It's no coincidence that it's smack dab in the middle of the album either. It's a refreshing breath of exactly why you should like Local Natives and delightfully so. The swooping, craning vocals, the intense drumming, the surging melodies and atypical songwriting structure, these are all undeniable parts of not only what makes "Breakers" work but also Local Natives' own strengths. "Breakers" is Local Natives operating at peak performance. Maturing between albums but still creating something not wholly unfamiliar with just the right influx of new ideas, "Breakers" is a track that has dominated an insane amount of my time since its initial release and rightly so - it's an utterly captivating piece of pop songcraft while serving an important purpose in the context of its album. It's great - no ifs and or buts about it.  




The Cave Singers - "Have to Pretend", Naomi
A very special (one-sided) relationship formed between the Cave Singers and I when they opened for Fleet Foxes at United Palace. Despite being absolutely incredible, when they played a dancier number ("Black Leaf" and invited the audience to leave their seats to rock out with them, no one did. It was tragic and in retrospect I should've gotten up and made a total goof of myself if only to validate the band's awesomeness. "Have to Pretend" is essentially another go at infectious dance music for the folk rock band and it's a rather valiant effort. The kind of song that'd probably move a venue full of jaded/lazy New Yorkers easy that manages encapsulate what makes Cave Singers so damn enjoyable. The band continue to demonstrate a charming familiarity in creating ear catching folk rambles and Peter Quirk remains a consummate front man his rasp adding a bit of grit to easy breezy melodies of "Have to Pretend".




Night Beds - "Ramona", Country Sleep
My introduction to Nashville based singer/songwriter Winston Yellen aka Night Beds was in "Even If We Try", a emotive little ditty that made ample use of the man's golden immaculate falsetto. Little did I know a song like "Ramona" could come from such a man. That's not to say the two songs are that remarkably different - Yellen's lyricism is still top notch as are his vocals but "Ramona" far more faster paced than I expected from the man whose vocals flourished at such a slow crawl. Unsurprisingly, "Ramona" marked the end of Yellen's sole proprietorship of Night Beds and shift towards that as band leader, lead vocalist, and songwriter. "Ramona" is an entirely different breed of song but one that ultimately still finds displays what's so endearing about Yellen. Even finding room for his falsetto at the song's apex.



Born Ruffians - "Needle", Birthmarks
In terms of a contender for outright best track from an indie pop group released in 2013, Born Ruffians would win that coveted honor. There really is no arguing that fact. In addition to being an absolutely brilliant album opener, it's got big pop hooks which is sort of casually slides into. It's not big from the get go. No, instead Born Ruffians perform a magnificent slow build that cements the track's complete and utter pop decimation. The band is firing on all cylinders after the triumphant return and it shows. "Needle" is a pretty much immaculate piece of songcraft that pretty much transcends Birthmarks. Normally that might be a bit of a bad thing but here's it's quite good and hopefully a sign of things to come. The bar has been set and Born Ruffian pretty much have only themselves to beat.



Night Panther - "Fire", Shaking Through Vol. 4
It's always a good sign when the live version of a song is favored above the recorded version and that's the case with Night Panther's "Fire". Already a favorite cut on their self-titled debut record they released this year, there's a certain magic of the group that's thankfully been captured by those dedicated engineers over at Weathervane Music and their Shaking Through sessions. "Fire" is perhaps the best introduction to Night Panther for the tragically uninitiated featuring their trademark sassy dance pop and creamy falsettos which is guaranteed to make you want to dance - unless you're dead.



Empress Of - "Tristeza", Systems EP
Empress Of's "Tristeza" is a testament to how you can be completely consumed by a piece of music by feel alone. The emotive gem is in Spanish and yet is so beautifully sung and played that you don't even really understand what she's singing to be utterly captivated by her words. There's very little else to focus on besides the words but even despite the language barrier - enough of its meaning can be gleaned from tone. That and Rodriguez's brilliant vocal choices as she mimics the intense intakes of breath that occur during an extreme cry session.



Thin Hymns - "Lady Mountain", Black Water EP
While Thin Hymns had essentially won me over with their Logic & Theory EP, this year's Black Water EP was beast of an entirely different breed. Where Logic & Theory was more experimental than it was pop, Black Water carried no such distinction. That's not to say that they hung up their tonal shifts and textural interplay entirely but Black Water took Thin Hymns propensity for complex soundscapes and pinned them to melodies whose poppy tendencies were far more immediate. "Lady Mountain", arguably the most stellar of Black Water's four tracks, is the perfect blend of Thin Hymns experimental proclivities and a noticeable forward momentum. It's expansive - clocking in at 6 minutes and change but never suffers even an instant of lethargy. It rolls forward pretty much unceasingly while the band interlocks in a multitude in an interesting array of formations.



BRAIDS - "Amends", Flourish//Perish
While Montreal art pop trio BRAIDS create the kind of albums that not only follow a cohesive flow but seems to take organic songcraft to its very limits, there's always a song tucked in their that I manage to love more than the others. On Native Speaker it was "Plath Heart" and on Flourish//Perish, it turned out to be the very first single "Amends". While not officially a dance band everything about "Amends" lends itself towards that reaction. From its steady (though syrupy) pulse, to its wide expanse, it's not only serves a dance fodder but it's also one of those tracks (especially live) where BRAIDS sophisticated polish is entirely responsible for that effect. Each layer is regarded with an exceptional amount of care like the assembly of a stain glass window and the combined effect is way more impressive than all of its various moving parts.



San Fermin - "Sonsick", San Fermin
If I'm being completely honest, almost any off the San Fermin record featuring the lovely ladies could probably ended up on a list like this. While San Fermin in its whole is a complicated, varied, and potentially polarizing record there's no doubt to anyone who hears say "Crueler Kind", "Sonsick", "Oh Darling", or even "Daedalus (What We Have)" that while Ellis Ludwig-Leone is a talented composer, he can write an exceptional pop hook. And yet, the success of that is certainly due in part to the appearance and delivery of Jess Wolfe and Holly Laessig. Their vocals are bold, brassy, and immaculate. What separates "Sonsick" from San Fermin's other brushes with pop however is in the just-so way everything comes together in it. The brass, the lyrics that resonate outside of the album's concept, the way that slowly rises into triumphant splendor - not as an ebb and flow but as flood of heartwarming emotion.



Son Lux - "TEAR Part 1"/"TEAR Part 2", TEAR
Son Lux has a had a pretty exceptional year. Working with yMusic on their new album, as well as with Sufjan Stevens and Serengeti on their collaboration Sisyphus (formerly s/s/s), it's hard to imagine Ryan Lott has any time for his own music and yet, he certainly has. While 2013 saw the release of another full length in Lanterns, Lott's experimental piece TEAR is more than worthy of its own praise. A song in two parts, TEAR does precisely what Son Lux does so well - takes a song apart at its very foundations and plays around with all the various combination those parts can make when paired differently. It's a nifty enough idea in theory but even more impressive is how Son Lux can pull such a thing off without revealing his hand. By inviting you into to his creative method somewhat, he shines a light on his own brilliance but also obscuring the truly important bits of what he's doing by music sleight of hand.



Mister Lies - "Magichour" ft KNOWER
While the summation of his debut record Mowgli did very little for me, "Dionsyian" and the constant almost unrelenting praise from mutual friends has essentially insured that I approach each Mister Lies release from now until pretty much forever with an open mind and a trusting heart. This approach was rewarded quite quickly with "Magichour". Featuring Los Angeles duo KNOWER's Genevieve Artadi on vocals, "Magichour" is like a rocket ride. Slow and methodical as the gear is checked and everyone prepares for lift off before everything gels in the most magical way. It's the kind of track where absolutely everything about the track works to its favor. Mister Lies' own touches in the form of the arrangements and construction and even the little experimental flourishes create a unique and engaging path while Artadi's vocals light and feathery serves to illuminate that path and all it's wonderful curves and bends.




Hop Along - "Sister Cities", Shaking Through Vol. 4
Frances Quinlan is the kind of frontwoman every rock band should have - articulate both in her songwriting and vocal delivery, openly emotive with a punky edge "Sister Cities" spotlights all Quinlan's strengths without sidelining the rest of band.  Probably Hop Along's best song thus far, "Sister Cities" takes everything that worked so well on Hop Along's 2012 debut Get Disowned and distilled them into a single song. Quinlan's narrative voice is clearer and sharper, the band tighter and fiercer when the need arises. There's none of the genre-suspension of Get Disowned but that's hardly necessary. Instead " Sister Cities" is content to be the sort of intelligent rock song that keeps you coming back over and over again. In that it succeeds in spades.



The Shakin' Babies - "Easy Meal", Stoked Casual
While I was almost instantly charmed by Minnesota doo wop/garage rock hybrid The Shakin' Babies at this year's FMLY Fest Brooklyn, it wasn't until I was home curled up with their excellent debut record Stoked Casual that I realized just how many levels the band operate on. Songs like "Mary Wants to Rock" sounded like your standard rock 'n roll jam but as I listened to deeper cuts The Shakin' Babies revealed themselves are clever and occasionally humorous songwriters hiding tales of devil worship and drug addiction under sugary sweet melodies. "Easy Meal" just happens to be my favorite of those dual operating tracks. Lyrically describing a shark attack I was at a loss for whether it was an elaborate metaphor or if it was really just that. The correct answer may never be known (I suspect it's both) but the track is downright infectious - a perfect demonstration of the bands 60s inspired garage pop.  



North Highlands - "Halo", "I'll Do My Best"/"Halo" 7"
When news that Brooklyn indie pop outfit North Highlands had new songs in the works I could hardly contain my excitement. Their debut album Wild One was a surefire favorite and an eclectic blend of styles that converged into this interesting folk-inspired dance-pop played on rock instruments. No one could accuse North Highlands of copying their style. On their latest release the "I'll Do My Best"/"Halo" 7", North Highlands didn't pick up where they left of. No, instead they turned their sights toward surf rock. But North Highlands are nothing if not creative and their dip into summery beach pop was anything but typical. "Halo", surprisingly doesn't sound like North Highlands jumping the shark and trying a new genre on for size. Instead "Halo" (and "I'll Do My Best") is their own take still featuring their sweetly sung, dance inducing brand of indie pop goodness. A slightly new look for North Highlands sure but not one that incredibly far removed from their Wild One days.




Salt Cathedral - "Fields", Salt Cathedral EP
Arguably one of my favorite discoveries of 2013, Salt Cathedral are a band that appeal to virtually ever part of music-loving ways - a fantastic live band with intricate yet accessible song composition and real sense of original vision, Salt Cathedral (formerly il Abanico) are hopefully destined for big things. To the great benefit of the Brooklyn via Columbia band, pretty much any song from the sextet's EP could've ended up here but "Fields" with its radiant, sunny sheen just happens to properly articulate what's to love about the band. The progressive rock recalling layering, the rhythmic complexity,the soaring emotive and deeply felt vocals - it's all there, masterfully doled out and interlocked into a heady rush of pure elation that is "Fields"



Kishi Bashi - "Philosophize In It! Chemicalize With It!"
There really is no denying Kishi Bashi's unique talent for layers. Which seems unsurprising considering it's the main method of his song composition but K. has an ability to exceed above and beyond your expectations there. Another one of K.'s fantastic psychedelic trips, "Philosophize In It! Chemicalize With It" takes flight almost immediately with its vibrant, soaring melodies. Kishi Bashi always seems to be at his most innovative when dreaming up unique ways to dress up love songs and there's certainly no shortage of creativity here. "Philosophize With It! Chemicalize With It!" is a wildly enjoyable flight of fancy that finds the perfect balance between its high energy and an emotive core. K.'s words ring true but they also shimmer and glide while they do so. They're a fresh take on an age-old idea that Kishi Bashi finds a way to make extra resonant.



Gracie - "Jackson II"
Gracie is anything but a conventional artist and that's probably most apparent on "Jackson II" a track for the mixed media project for Kai Flanders' novella 'The Red Bicycle'. Inspired by/accompanying the novella's first chapter Gracie makes pretty inventive use of the chapter's two most important elements - a plane and the titular red bicycle. But they're subtle touches - not utilized to excess while the track bops along at it's leisurely pace on just the right side of dance-y. It's the kind of track the even separate from 'The Red Bicycle' soundtrack manages to be delightfully engaging and charmingly clever.



The Debauchees - "I've Got Energy", Big Machines and Peculiar Beings
What can I say about The Debauchees that I haven't already said before? I've written about them a bunch of times in their rather short band life and they continue to amaze. On "I've Got Energy" they put their absolute best foot forward allowing their music to speak for what could've been an agonizing/annoying gimmick. Teaching themselves their instruments after deciding to be in a band, being young with clearly classic music tastes, the single ahead of their excellent debut album Big Machines and Peculiar Beings combines fiery intensity with Sydney Chadwick's cool purr. The Debauchees offer up the kind of tunes that'd make any rock purist proud and rightly so.



ARMS - "Sleepwalker", EP2
Truth be told, a large part of my excitement concerning the release date of ARMS Summer Skills follow up EP2 was purely based on my ability to own and listen to "Sleepwalker" whenever I damn well pleased. I had spent over a year hearing the track at every ARMS show I attended (which happened to be A LOT) and it always stuck out to me the best display of Todd Goldstein's pop chops and my new favorite ARMS songs. That's not to say the other songs weren't enjoyable in their own ways but "Sleepwalker" was at the forefront of my memory and the wait for their EP to find a home was made all the more laborious due to its absence from my collection of dangerously repeated tracks. While Goldstein set out to tell stories outside/separate of ARMS supernatural thriller Summer Skills, "Sleepwalker" delivered where no other EP2 cut did. Invoking a visceral reaction due not only to Goldstein's intelligent, descriptive lyricism but also the track's moments of pop mastery. When Goldstein sings "I want you always", it's evidently the track's climax, the tipping point where the track finally lets loose all its built up energy and the result is nothing short of deeply enjoyable. It doesn't barrel forward to the end like such a dam burst is to wont to do but there's no more build up, the track unravels and marvelously so. "Sleepwalker" succeeds where no other EP2 track does because it pairs arresting musical moments with the frenetic energy ARMS reserves mostly for their live sets. Goldstein still retains the knack for building these engaging little worlds but the charm of "Sleepwalker" is in its domino effect as Goldstein's meticulous world building crumbles in ts frantic finish.
  


Chris Holm - "Sealed", Kilos
Chris Holm's solo record Kilos, his first stepping out from bands Young Dreams and Bloody Beach (and a multitude of others, I'm sure), happens to be an album of experiments. That sounds a little like Holm putters around unsure of what he's doing but he does that much is exceptionally clear. The album is a blend of Holm's varying influences and inspirations that somehow managed to be stay moored by his passions in them. From the sort of tropicalia hip-hop hybrid of "H.A.A.R.P." to the psychedelic rock stylings of "Raleigh's Peak", it's an album of unprecedented musical exploration. Each song is special and good in its own way but, and forgive me if I'm gushing, "Sealed" is a real standout. It's Chris Holm's try at singer/songwriter pop game like pals Sondre Lerche and Matias Tellez but it's uniquely his own, making extensive use of layers and textures and this sound and that in a way that embellishes not distracts from Holm's songwriting. There's some poignant lyricism crafted here that definitely establishes Holm's solo talents and not just his talents are an ensemble artist. "Sealed" is the moment I realized Kilos would not be enough. Holm's needs to make more solo music and often. Here's hoping he does so.



R. L. Kelly - "Feels Real", Angeltown
Since being introduced to R.L. Kelly's empowering brand melancholy pop at Orchid Tapes' Brooklyn showcase, it's been my utmost pleasure to keep taps on her, watching and hearing her grow her small but powerfully engaging collection of songs. While there's been no shortage of great R.L. Kelly songs this year, my favorite might very well be "Feels Real" which was featured on Orchid Tapes Los Angeles show compilation tape Angeltown. Not quite sparse as "Life's a Bummer" but not as crunchy as "You're Not the Only Monster in Hell. It's a pleasant little number that engages in some absolutely earcatching musical moments with not only the vocals but its guitar melodies.




Lapland - "Metal Lungs", Lapland
Brooklyn based singer/songwriter Josh Mease underwent a bit of a renaissance, reemerging under the moniker Lapland. It takes a particularly gifted songwriter to have not only a song but a whole album engage bases on songwriting talents alone but that's precisely what Mease does with Lapland. "Metal Lungs"combines normal singer/songwriter heartbreak fodder with a rather uplifting take on it. Invoking dusty Midwestern plains, "Metal Lungs" sounds like a rallying cry as Mease's moving, creamy vocals are employed like a cleverly concealed weapon.



Sondre Lerche - "Rejection #5", Public Hi-Fi Sessions #01
Despite the fact that 2013 held all the faint whispers of a full length record in the works from Norwegian popsmith Sondre Lerche, sadly it was not meant to be. Instead it seems like in 2014, Lerche will be doubling down on releases and that suits me just fine. However 2013 wasn't completely without its fair share of Lerche jams and in addition to takes on Scott Walker's "The Plague" and Miley Cyrus' "Wrecking Ball", Sondre Lerche let two songs free from his majestic pharaoh's tomb of an archive in the form of Two Way Monologue era "Rejection #5" and "Screen Door" for Jim Eno's Public Hi-Fi Sessions. The twist being of course that "Rejection #5" was unfinished until recently and was recorded with Eno taking part for the release. Though written around Two Way Monologue it's got a very Phantom Punch era sassiness thrown in for good measure. The fact that it's basically a new track at this point shows that not only has Lerche not lost touch with his roots but that his genre-bending ways aren't long forgotten. "Rejection #5" is a funky little number which manages to bring the past 5 years or so of Lerche's musical career full circle with a clever little reference to George Lazenby. Unexpected collaborations and inspirations abound and the result is a song of pretty much boundless confidence. The kind of song that'd soundtrack Travolta's cocky strut if Saturday Night Fever was remade with modern music for some weird reason. A jam in every sense of the word that's a more than suitable placeholder for Lerche's forthcoming 7th full length.



Honorable Mention:
Alex G - "Joy"

Conveyor - "Pushups", "Mammal Food"/"Pushups" 7"

Daughn Gibson - "Kissin on the Blacktop", Me Moan

Gracie - "Creature Pleaser", Bleeder EP

Hiss Golden Messenger - "The Serpent Is Kind (Compared to Man)", Haw

Incan Abraham - "Tuolumne", "Tuolumne"/"Whidbey" 7"

Watch: Salt Cathedral - "Fields"

Brooklyn fivesome Salt Cathedral (formerly known as Il Abanico) have been making big waves as of late. Today marks the release of their self-titled EP, the first collection of new music since their name change earlier this year and it's full of those tropical beat inflected experimental pop rock jams. Case in point: "Fields"

The beautifully shot video, directed by SoftSpot's Sarah Kinlaw, features the shuffling glistening jam along with a rather unique story of a man in love with the ocean. In his home he has actresses put on a little puppet show before deciding that simply won't do and embarking out in the wilds of the world in a sort of low budget Hazmat suit to experience it himself. The video is the perfect blend of stunning, kind of weird, and slightly confusing that it just works. All the while it features Salt Cathedral vocalist Juliana Ronderos' fluttering bird song like vocals that soar high above the track's intricate psychedelic beat-intensive grooves.



You can now purchase Salt Cathedral's 5 song EP digital or on vinyl which I highly recommend here.

Listen: Salt Cathedral - "Move Along"

There's something to be said for a slow release schedule. Brooklyn by Columbia psych rockers Salt Cathedral have certainly taken their time putting new music out into the world but each time the do, it's well worth the wait. Usually coinciding with massive events for them like their name change from Il Abanico, Salt Cathedral have made sure that each and every single they've released are is of the utmost memorability.



Their third single "Move Along" trades in the group's trademark frenetic energy for a slowly unfurling laid back jam. Their propensity for intricate layers is still at work with complex guitar riffs weaving seamless through Juliana Ronderos' flawless vocals.

Like the singles before it, "Move Along" signals an important milestone for the band - the release of a new EP; their first under the Salt Cathedral moniker. You can preorder the 5 song self-titled EP via Salt Cathedral's Bandcamp here.

Listen: Salt Cathedral - "Dirty Me"

This weekend, Salt Cathedral are getting the chance to once again flex their brilliant live chops opening up for   Hundred Waters and in celebration they've released another new track. "Dirty Me" with it's shuffling percussive intensity is another peak at their far more inticate, laser precise direction. With their Il Abanico days getting farther behind them, the Crossing Colors EP seems like a distant memory - especially when compared to the far more ambling complexity of the new tracks. With each new song, Salt Cathedral get closer to capturing their electrifying live energy and putting that out to be consumed over and over. It's not quite the same as viewing their incendiary performance yet but it's a far more realistic portrayal of what you're in for if you do see them live. So if "Dirty Me" or their "Take Me to the Sea" sound like you're kind of thing, make sure you see them live as soon as you are able like this Saturday at Glasslands Gallery, perhaps.



In case you missed it, here's Salt Cathedral's first single "Take Me to the Sea" under the new moniker.

Listen: Salt Cathedral - "Take Me To The Sea"

Yesterday I introduced you to Brooklyn-based Colombian band Il Abanico and just a couple hours after the band changed their name to Salt Cathedral. Named after the Catedral de Sal de Zipaquira of core songwriters' Juliana Ronderos and Nicolas Losada's homeland as a (hopefully) far memorable and easier to pronounce alternative, the name change also came with a bit of good news. The newly minted Salt Cathedral dropped their first new podt-name change single and it's glorious.

Establishing a whispy air with Juliana Ronderos mostly unaccompanied vocals before the tropical-inspired beats make themselves known, the track features a rather incredible build up. Each instrument - to the restrained drums, to the skittering progressive rock-recalling guitar riffs, combines together without overwhelming Ronderos' plaintive pleas or dislodging  the rather otherworldly atmosphere she invoked since het initial entrance. It's everything the band's known for (i.e. their incredibly clear melodic lines and balance) and then some. A brilliant debut single from Salt Cathedral.