Feature by Chris Nowling: For indie music enthusiasts, discovery is what drives us, especially as modern technology makes it so much easier for artists to create and disseminate music to the masses. While you could argue that the magic of finding your new favorite band is lessened by the simple fact that it can happen multiple times a week, the abundance of cheap, high quality music so readily available has created opportunities for both musicians and music lovers alike that never before existed. Still, it’s impossible to find all the “good stuff,” even by following tastemaker websites, listening to the radio, and keeping company with fellow junkies – there’s just not enough time in the day to hear it all. And as fun as it is to discover new and notable musical talent, it’s almost as enjoyable sharing what you’ve found and discussing (or even arguing) about the band’s legitimacy as “the next big thing.” No longer is it hip (as long as you’re older than 16) to keep your musical discoveries to yourself. In this spirit, I’m periodically presenting five artists/bands that I feel are worthy of your attention and that I’m guessing you haven’t heard before. So take a look, take a listen and let us know what you think.

Band/Artist: fun.

Recent Release: Aim and Ignite

I am, admittedly, cheating on this one just a bit. fun. (lack of capitalization and presence of punctuation intended) may not qualify as “unheard of” when you consider the size of their fanbase, which appeared the moment the band was formed. This immediate support group is primarily a result of singer/songwriter Nate Ruess’ former project, The Format, an indie rock band that inspired an impressive following considering their general lack of critical attention and brief existence. But despite that mild popularity, Ruess and company remain largely ignored by the critical community and in that sense they qualify—and, given the quality of their music, deserve—mention in a feature such as this. Ruess and new bandmates Andrew Dost (of Anathallo) and Jack Antonoff (of Steel Train) have created a stellar pop album for their debut, continuing the grandiose, orchestral pop presentation of the last Format album (2006's Dog Problems) but with even more flair and success this time around, offering a record that is exquisitely crafted, consistently surprising, and, of course, very fun indeed. 

Ruess furthers his penchant for openly discussing his hopeless romanticism and agonizing heartbreaks throughout Aim and Ignite, but the music frequently belies his pain, remaining upbeat and stuffed to the point of bursting with soaring string and horn arrangements (compliments of returning collaborator and former Jellyfish member Roger Joseph Manning Jr). First single “At Least I'm Not as Sad (As I Used to Be)" perfectly showcases what makes the album so enjoyable. Ruess swings theatrically between sing-song rhymes and grand, joyous choruses while the pounding piano and perky horns place emphasis when necessary and retreat for moments of occasional quiet. Other highlights include the dramatic opener, "Be Calm," the danceable "All the Pretty Girls" and the afro-pop-meets-synth-rock tune "Walking the Dog." Aim and Ignite may not be receiving attention from notable tastemaker websites [*cough* Pitchfork -ed.], but that doesn’t mean you should pass up the opportunity to hear such a genuinely well-crafted pop record.

Band/Artist: Shuta Hasunuma

Recent Release: Pop Ooga Plus

Download a Free Track: “Power Osci”

“Glitch” music isn’t a genre that I have much, or really any experience with, but my recent introduction to Japanese electronic artist Shuta Hasunuma makes me interested to find out more. Hasunuma, by the very nature of his chosen genre, will likely continue to toil in relative obscurity, but his music is truly and fascinatingly unique and deserves attention. Combining glitchy electronic beats with acoustic guitars and, on occasion, his own subtle vocals, Hasunuma’s soundscapes become simultaneously pleasing and confounding, but wholly absorbing either way. His third effort, the recently rereleased Pop Ooga Plus, is a delightful exploration of various experimental electronic themes, but what makes it so appealing is the way it connects on a more personal, emotional level, even though you probably won’t understand the Japanese lyrics. It’s a remarkable and accomplished album and one of my personal favorites found in the more experimental realm of music this year.

Hasunuma seems to thrive on misdirection and surprise; he twists and splits melodies and turns directions without warning, keeping the listener on his toes but always delivering on the music’s initial promise if not in the way we might expect. In this way, songs like brief, breezy opener “United Tree” and similarly short but more urgent “Vol Struggle” might seem slight on their own, but accompanied by the tracks that follow them—the impressively developed “Soul Osci” and the fractured kaleidoscope of sounds that is ”Field Trip,” respectively—they feel completely satisfying. That’s not to say this album is without standout moments (“Soul Osci” and its more vocal-centric partner “Power Osci” are especially great even out of context), but the development of its several stylistic themes is more fulfilling when consumed as a whole. Each moment feels carefully constructed and beautifully presented, making Pop Ooga a captivating and engaging musical experience for its entire 51 minutes.

Band/Artist: Netherfriends

Recent Release: Calling You Out EP

Download a Free Track: “Nunya”

It's difficult to really describe or classify Netherfriends. Their sound touches on elements of freak-folk, noise-pop, and even a little of the Afro-pop vibe that's been going around recently, connecting them to projects from Animal Collective to Vampire Weekend. That may make it sound like the band are taking an obvious stab at indie stardom, but their music contains no signs of such pretension, just plenty of psychedelically-tinged, messy musical and vocal hooks and a refreshingly strange approach to indie rock. Their new (and first widely available) album is an EP, Calling You Out, which sees an ambitious and energetic band with the talent to easily pull off their almost casually experimental sound, stuffed with various guitars, percussion and synth under singer Shawn Rosenblatt's off-kilter tenor voice. Focused it’s not, but given the success the band has at their various stylistic detours, it’s difficult to fault them for wanting to stretch their wings.

Opener “Friends With Lofts” is a relatively more subdued cut, with kitchen sink percussion and plenty of atmospheric vocal harmony; the anti-pervert song "Really?" features a bouncy, rhythmic guitar/drum attack after a swirling ambient introduction; and “Nunya” is the most energetic of the bunch with its relentless tribal percussion and moments of cacophonous noise. The band’s lo-fi production values only add appeal to their messy rock sound, but it’s the focus on melody and the way they blend their myriad influence so smoothly that really makes them a cut above the majority of their peers. And though they sometimes tread a fairly familiar path, they never simply rehash older and better material, preferring instead to build on and manipulate the past and present which results in much of Calling You Out feeling inventive and unique to the band—definitely recommended for those who prefer the more adventurous side of indie rock.

Band/Artist: Arms

Recent Release: Kids Aflame

Download a Free Track: “Kids Aflame”

Some of you may have heard of indie-pop group Harlem Shakes, who released their full-length debut Technicolor Dreams this year. Todd Goldstein, guitarist for the aforementioned five-piece, is the singing/songwriting force behind Arms. Goldstein slowly put together the music for his first solo album over three years starting in 2004, releasing the finished product in the UK last year and finally getting a US release for it this month. Kids Aflame takes a different route than that of Todd’s full-time group; it’s sloppier, simpler, and often slower—though it’s at least as melodic if not more so. It’s a seemingly modest record, but the material is mostly excellent and the entire project is more cohesive than would seem likely considering its scattered origins.

Highlights include the garage rock of “Whirring” and “Shitty Little Disco,” both of which are charmingly lo-fi, with Goldstein’s unassuming voice resting on simple drum riffs, bits of synth and distorted guitars. On the flip side, songs like the ukulele-led title track and the beautifully sad folk number “Fall” show a more relaxed, contemplative side to the artist’s songwriting, though they're no less enjoyable and provide some welcome variation. With few exceptions, each tune has hooks to spare, and it’s remarkable how rich and engrossing an experience Goldstein creates with such a restrained musical palette, all the while remaining grounded and approachable. It may be a subtle kind of magic that makes Kids Aflame an album worth digging into, and some will likely be underwhelmed by its straightforwardness, but Todd Goldstein’s solo debut is a great way to make an entrance.

Band/Artist: Robert Francis

Recent Release: Before Nightfall

When you receive a vintage guitar from Ry Cooder at age nine and then become the only student to ever take lessons from John Frusciante of the Red Hot Chili Peppers, perhaps making rock music simply becomes your destiny. And maybe that’s why singer/songwriter and multi-instrumentalist Robert Francis sounds so mature and accomplished on his strong sophomore effort, Before Nightfall, at only the tender age of 22. Whatever the cause, The LA native truly sounds world-weary and talented beyond his years in the way he sings and plays his folk-rock tunes, channeling artists from Bob Dylan to Ryan Adams, and in the process building a powerful and unique musical persona as well. With a strong, sweet baritone and obvious instrumental talent, Francis conveys dark, troubled stories on his appropriately titled new record, which expands upon the more modest beginnings of his impressive debut, One By One.

On Before Nightfall, Francis successfully attempts a variety of stylistic approaches, throwing bits of gospel (“Nightfall”), country (“Climb a Mountain”), and blues (“Mescaline”) into the mix without ever straying too far in one direction. Francis’ musical acumen is clearly demonstrated throughout the record in his ability to so confidently tackle various kinds of rock ‘n’ roll, but it’s his stunning voice that makes his songs so compelling. On the first verse of “Climb a Mountain” and the epic, wordless chorus of “Junebug,” Francis shows off his spectacular range, but even on more subdued performances (“Playground,” for example) his delivery is just as emotionally powerful, if not more so. Though Robert Francis’ youth will certainly turn heads, the music he creates deserves more than just “he’s good for his age” sorts of comments. Both his debut One by One and  this strong second record should establish this talented musician as a good songwriter in any context.

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Feature By:
Chris Nowling, Staff Writer

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