Author: Kristin Porter

Vetiver 
Complete Strangers 
Easy Sound
Street: 03.24
Vetiver = Devendra Banhart + Phosphorescent + Beach House 

Brisk guitar riffs, breezy drumbeats and blasé harmonies weave together seamlessly on this album to create some of Vetiver’s most cohesive and pleasant music to date. As Vetiver’s sixth studio album, Complete Strangers, flows effortlessly from one rhythmic track to the next and rarely stops to take a breather (not that it’s needed). Understated electronic beats and airless vocals comprise the opening track, “Stranger Still,” and beachy, fleshed-out guitar tunes work effortlessly to create one of my favorite tracks on the entire album, “Current Carry.” I fell in love with this album after listening to it once and found that it neither waned nor grew repetitive after its third, fourth and fifth rotation. Suitable for listening to with the windows down on any lazy afternoon, this is without a doubt one of the most irresistible records I’ve heard this year. –Kristyn Porter 

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Will Butler
Policy
Merge Records
Street: 03.10
Will Butler = David Bowie + Arcade Fire + Wolf Parade
 
Policy is a poppy, straightforward album that could easily pass as a B-sides album from Arcade Fire’s 2013 release, Reflektor. For the most part, this album comprises generic guitar melodies and uninteresting (albeit semi-catchy) piano ballads offset by Butler’s larger-than-life vocals. This album was recorded in about a week, which is certainly noticeable in the flat, average songwriting that encompasses the majority of the album. Butler has been one of the central musicians in The Arcade Fire for the past decade and is, without question, a talented multi-instrumentalist; unfortunately, none of this materializes on Policy. Self-conscious, overly poppy and just plain generic, Policy is an album that might churn out a few radio hits but ultimately offers nothing fresh, honest or overly interesting. –Kristyn Porter 
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Carnation 
Sub Pop
Street: 06.02
Daughn Gibson = Nick Cave + Mark Lanegan 
 
Co-produced by Randall Dunn of Sunn O))), Daughn Gibson’s third album, Carnation, holds a unique place in Gibson’s discography. Most of the tracks on Carnation narrate strange and morbid tales over dark noir-pop ballads and lightweight guitar harmonies. On the opening track, “Bled to Death,” Gibson chronicles dying and being unwillingly brought back to life with a style that sounds similar to Michael Gira’s work on Angels of Light’s album We Are Him. Gibson nonchalantly explores new territory with Carnation, and the result is a textured, sophisticated album. 
–Kristyn Porter 
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Soft Touch
Self-titled

Self-Released
Street: 08.18
Soft Touch = Prince + Shy Girls

Soft Touch’s self-titled sophomore release continues its lo-fi trajectory through the same R&B territory established by their debut album, Touch, in 2015, but with one major difference: From start to finish, this album is much, much more musically cohesive than Touch, and ultimately, much more accessible.

The opening track, “Thirsty Heart,” introduces brisk, melodic synths that move (with purposeful designation) back and forth between sounding like the melodic underpinnings of the song to suddenly becoming the song structure’s sole focus and musical commander in chief. But it doesn’t stop there: Jake Burch’s high-pitched, funk-infused vocals dip, dive and roll as the track introduces sharp, chilly-sounding synths and the occasional low-key, manipulated sample to the mix. It’s a lot to process and a bit of a risky move, but it pays off. I continued to find new layers to the track with each subsequent listen, which ultimately made for an unexpected (albeit welcome!) interactive listening experience.

The following song, “To Your Arms,” undeniably evokes R&B, Prince-inspired vibes supported by the dual vocals of both Burch and Cam Sackett. It’s a down-tuned, funky track with the shake and rattle of an early ’60s rhythm and blues band. The next couple of tracks, “PTD” and “Tell Me,” don’t emit the same R&B intensity that “To Your Arms” does, but they’re dynamic enough in their own regard to be equally as enjoyable. “To Your Arms” embraces a fully unapologetic—and in true Prince fashion—dramatic keyboard introduction juxtaposed by an array of sweeping synths carefully choreographed to enter and exit the song for optimal emotional catharsis. Burch and Sackett add the finishing touches to the track, asking almost incredulously, “Tell me / Tell me / Where is your heart?” as the song reaches full instrumentation and comes to a close.

“I Felt Your Voice” concludes the album, falling along a similar musical path as the previous two tracks, while incorporating larger synth waves and slightly more tenacious subject matter. Ultimately, this self-titled release from Soft Touch is an enjoyable, at times danceable and fully memorable album to keep queued up for your fall music playlist. –Kristin Porter

John Andrews & The Yawns
Bit By The Fang
Woodsist
Street: 04.14
John Andrews & The Yawns = Jackson Scott + The Babies + Mikal Cronin
 
Bit By The Fang offers an eclectic trip through honky-tonk, alt-country piano jingles, detached, druggy guitar loops, and almost ridiculously distorted (and sometimes leeringly high-pitched) vocals. The result is a refreshing album that skillfully masters the tenacious balancing act between experimental garage rock and pseudo-country. Andrews fuses the twang of early Ryan Adams with the high-pitched and distorted vocal style of Jackson Scott to create a unique sound that forges its own way among the overwhelming amount of bands playing similar psychedelic alt-country tunes right now. On the track “I’ll Go to Your Funeral (If You Go To Mine),” Andrews layers nostalgic, detached vocal harmonies over trilling piano jingles that remind me of a semi-crowded, Christmas-light-clad bar on a Friday night in Rock Springs, Wyoming. Painfully articulate and slightly euphoric-sounding, Bit By The Fang ought to be on your summer music list if it isn’t already. –Kristyn Porter 
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Black Marble
It’s Immaterial

Ghostly International
Street: 10.14
Black Marble = New Order + Cold Showers

It’s Immaterial, the sophomore release from electro pop group Black Marble, retains the lo-fi grit of the band’s debut album, A Different Arrangement, while simultaneously steering the band (both physically and musically) from East Coast territory into fresher, more exploratory West Coast vibes. Singer/songwriter Chris Stewart retains his position at the helm of the project since splitting with bandmate Ty Kube amid Stewart’s move to the West Coast. Yet, despite his change in locale, Stewart keeps the band’s Brooklyn, New York–synth roots alive, resulting in a collection of songs with amplified vocals, pastel-colored synths and a hint of modern-day deference, which is evocatively scored by Stewart’s personal, nostalgic touch coupled with every happy-sad, Ian Curtis–garage dance party you’ve never been to.

The album opens with the quixotic track “Interdiction,” sampling a muffled human scream over an interjection of ephemeral sound effects and samples. Clocking in at just over a minute, the track evaporates as quickly as it appears—like the opening credits of an ’80s sci-fi film based loosely on the works of William S. Burroughs.

The second track on the album, “Iron Lung,” presents with an effectively upbeat—and slightly irreligious-sounding—bassline that climbs and traverses faithfully through the unexplored backroads of Stewart’s emotionally cool vocals. Infused with a well-written balance between melodic homesickness and a low, dark reverb on par with singer/songwriter Daughn Gibson, Stewart’s vocals carry just as much—if not more—of the track’s melody than the Tilt-A-Whirl synthesizers propelling the vehicle of the song forward. The song’s structure, particularly the bassline, may have been an extension of the band’s 2013 “MSQ No-Extra,” a track from A Different Arrangement.

“It’s Conditional” is a multi-layered epitaph seemingly lifted directly from the veins of a DMT-induced coma. Stewart’s serene vocals are carried downstream by a melancholic timbre only kept afloat by the unimposing, soft and directionless synths. Stewart’s dispirited vocals fully evade the four-and-a-half minute track—although it seems much, much shorter.

“Woods,” the fourth track on the album (and also my favorite), revels in a deeply buoyant tempo that is seemingly dissatisfied with a predictable trajectory of synth electro pop melodies. It rebelliously imbues each sombre synth with a small auger of hope, represented by Stewart’s overarching, borderline saccharine vocals that veer close to an emotional catharsis. However, the song ends abruptly before full emotional insight is revealed. Stewart lures us close, almost lets us glimpse the center and then shuts the door abruptly. It’s a perfectly eschewed, honest and frail emotional mess that had me pressing “repeat” for close to an hour.

The second half of the album picks up speed from a melodic standpoint, ushering in slightly more up-tempo, albeit not quite danceable, tracks such as “Golden Heart” and “Self Guided Tours.” Stewart’s vocals are still at the forefront of each song, providing a delicate juxtaposition between what might have otherwise been an overwhelming combination of frenetic synth harmonies and New Order–heavy vocals.

Yet, It’s Immaterial is neither overbearing nor chaotic. On the contrary, it exists within a self-professed industrial musical landscape that leaves room for listeners to not only experience the finished product but to become acquainted with the creative process as well. Ultimately, It’s Immaterial leaves a door open for listeners, inviting them inside the vivid, scintillating electropop mind of Stewart while hovering effortlessly above Black Marble’s short discography. –Kristin Porter

Chick Quest
Vs. Galore
Self-Released
Street: 04.20
Chick Quest = The Violent Femmes + The Talking Heads
 
Vs. Galore, the debut album from Chick Quest, presents a slightly annoying mélange of twangy guitars, frenetic drum rhythms and lead vocals that sound like a screechier version of Gordon Gano. Most of the songs sound like either a regurgitated soundtrack to a Quentin Tarantinto film or a slightly altered version of The Animals’ 1965 cover of “Please Don’t Let Me Be Misunderstood.” This album attempts something along the lines of The Violent Femmes with a weird B-52’s pop twist, but just ends up sounding like a spaghetti western, anxiety-inducing headache.  –Kristyn Porter 
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The Wasatch Fault
Super Wasatch Fault

Self-Released
Street: 08.05
The Wasatch Fault = Modest Mouse + Doug Martsch

Super Wasatch Fault, the most recent release from local quartet The Wasatch Fault, opens with the eclectic, dramatic track “I Hate Hospitals,” a song that delves into garage rock territory offset by the steady, straightforward drumming style of Aaron McCuistion. The undeniably emo-rock track is stylized by a slight (and I mean slight) jam-band guitar melody layered beneath lead singer Tyler Gilvarry’s raucous, unpredictable and searing red-hot vocals that smolder with faint and inconsolable timbres. “And we stayed up all night / Because we knew that we were not quite ready / Not just yet, to say our goodbyes,” sings Gilvarry. It’s an unusual mixture of musical styles and song structures, and while it borders on the bizarre, The Wasatch Fault have never given me the impression that they crave widespread approval—or even validation—from the mainstream media.

Super Wasatch Fault tells the not-so-classic story of when the disparate genres of punk, indie rock, garage rock and math rock collide to create an angsty, temperamental album with the melodic underpinnings of early Modest Mouse (circa their 1996 album, This Is a Long Drive for Someone With Nothing to Think About). There are even some subtle musical references to ’90s cult-indie band Built to Spill, as exemplified on the third track, “Pep Talk.” Lead guitarist Benjamin Finley channels Built to Spill’s guitarist/vocalist Doug Martsch with his opening indie-pop power guitar hooks and a slightly aloof, asymmetrical song structure pervading the track. But it’s bassist Erich Newey’s signature, syncopated playing style that truly propels the song forward, carrying the track to fruition as Gilvarry sings in true ’90s, noncommittal indie-punk fashion, “Well you may disappear for now / But when you finally come around / We’ll hang out and I’ll tell you what I think about you.”

Although The Wasatch Fault sticks to indie/math-rock roots of their 2013 self-titled debut throughout the album, they also fearlessly incorporate new genres (noticeably garage rock and punk) into the fold. The Wasatch Fault brings a new type of musical genre (perhaps a “non-genre”) to the local music scene here in Salt Lake City with Super Wasatch Fault, presenting an album that certainly shouldn’t be overlooked by fans of the band. –Kristin Porter

linden rest and be thankful album cover

linden rest and be thankful album coverLinden
Rest And Be Thankful

Slumberland
Street: 06.23
Linden = The Elected + Kurt Vile

Recorded in an old fisherman’s croft off the shores of Loch Fyne, Rest And Be Thankful has an unmistakable, laid-back seaside quality about it that becomes more and more irresistible with each listen. With a vocal style that is eerily reminiscent of Blake Bennett, Linden layers saccharine storylines over straightforward, beachy guitar harmonies to create a pleasant album that moves seamlessly from start to finish. The track “Broken Glass” is a poppy, ear-pleasing melody that quickly became one of my favorite tracks on the album. Completely nonchalant and dreamy, Rest And Be Thankful is the ideal addition to any lazy summer day spent lakeside. –Kristyn Porter

Starmy – Heart Beat Breaks Glass

Starmy
Heart Beat Breaks Glass

Self-Released
Street: 01.09
Starmy = Red Bennies + Grand Funk Railroad

Local outfit Starmy’s sixth release, Heart Beat Breaks Glass, opens with a steady ruckus of thick guitar harmonies layered with Mike Sartain’s tense vocal style. The opening track, “Heart Beat Breaks Glass,” is a tightly refined song that weaves cohesively around an organ solo reminiscent of Red Bennies’ 2004 album, Adult Sophisticates. With grunge guitar work that emits a pervasive intensiveness, “Heart Beat Breaks Glass” sets the precedent for an album that is Starmy’s most uniform work to date.

With consistent juxtaposition between straightforward, dirty rock songs against slightly more somber tracks, the album lends itself to an introspection that Starmy tightly and confidently execute. The track “Live Today Like This Is Your Last” showcases Sartain’s well-placed vocal harmonies and exudes the nostalgia of a late-’70s rock ballad. The track that immediately follows, “Highs and Lows,” features gritty, jostling guitar melodies that blend into buried organ vibrations, building with a latent and unadulterated ferocity the vein of Deep Purple’s Jon Lord.

“Despite the Pixels On the Sun” sounds like it could be a continuation of “Live Today Like This Is Your Last.” The track revolves around a melancholic, space rock–infused melody that plays with Sartain’s slightly distorted vocals and Dave Payne’s cathartic drumming style. The track builds with empathetic suspense, perpetually creating a tension that hinges between fantastical space rock and more grounded rock n’ roll vibes. One of the following tracks, “Turn to Knots,” finds Sartain rendering powerful and evocative vocals over a familiar bed of grunge guitar harmonies, which are only interrupted by a slightly sporadic albeit tasteful organ solo reminiscent of keyboardist Ray Manzarek’s work on The Doors’ 1971 album, L.A. Woman.

As a self-proclaimed final album, Heart Beat Breaks Glass feels more unadulterated than any of the band’s previous work (particularly their cacophonous 2011 release, Blue Skies Abound). As a whole, Heart Beat Breaks Glass is a cohesive, willfully written album that wraps up any loose ends within the band’s 15-year discography. Although it’s bittersweet to see these guys go, they’ve graciously left us with an album that is perhaps their most solid and cohesive work to date. –Kristyn Porter