MP3s – Page 32 – Fingertips

Free and legal MP3: Centimeter (soaring power pop)

“Push Me Over” is a particular kind of power pop, which might be usefully labeled power power pop for its husky edge and determined drive

“Push Me Over” – Centimeter

A magical pseudo-genre that has never quite arrived nor disappeared, power pop exists through sheer force of will. At least since the Records assured us that the writ has hit the fan, if not before, there have been musicians who want to write songs that do this, whatever “this” exactly is. I’ve opined intermittently on the elusive charm of power pop (see in particular the post accompanying the Power Pop, Vol. 1 playlist), but every time a band rouses itself into full power pop mode, even now, at this disconcertingly late date, I feel energized and ready to wave the happy flag yet again. I mean, it was one thing for bands to offer up neo-power pop in the ’90s and early ’00s, but now that rock’n’roll has (who saw this coming?) been tickled to death by the cotton-ball assault of indie pop, bands that have the chutzpah to write melodic through-lines and play instruments (not to mention percussion) in three-dimensional space should be protected by the World Wildlife Fund.

Anyway: “Push Me Over” is a particular kind of power pop, which might be usefully labeled power power pop for its husky edge and determined drive; classic power pop often presents with a more obvious layer of sweetness. Yet sweetness is in the mix here too—in the background “oo-oos,” in the determined if not poignant piano line, in a chorus melody as plaintive as it is rousing, and perhaps most centrally (albeit also intangibly), in that lyrical lagniappe at the end of the verse, featuring the recurring phrase “if only for a while.” Through it all, singer Johan Landin proves once and for all that power pop is not merely an exercise for honey-toned tenors, as his expressive but controlled baritone delivers with its own kind of “what is the world coming to?” ache.

And maybe that’s the as-yet-undiscussed key to the mystery that power pop remains—that, at their best, power pop songs consistently exhibit this “I can’t go on, I’ll go on” pluck that, if not fully Beckettian, still pushes them deeper into the psyche than one might initially suspect they would go.

Centimeter, from Stockholm, were a quartet when first featured here on Fingertips in 2012, for the song “Motorhead”. They are now a trio. “Push Me Over” is a single that was released this summer, and it is the band’s first recording since their 2013 album 70.

Free and legal MP3: The Tins(quirky and anthemic)

Whatever musical amalgam this is, whatever sub-sub-genre today’s musical classifiers want to slot this into, I like rock’n’roll that sounds like this and am grateful there are still bands out there doing whatever this happens to be.

“Let It Go” – The Tins

An offbeat blend of the quirky and the anthemic, “Let It Go” has a stop-starty vibe that fidgets against its 4/4 time signature in an appealing way. Add some tasty suspended chords into the framework, augment with synth sounds hijacked from the ’80s, and finish off with an impossible-to-resist shouty group-singing chorus and the song sends me into a very happy place. Whatever musical amalgam this is, whatever sub-sub-genre it falls into, I like rock’n’roll that sounds like this and am grateful there are still bands out there doing whatever this happens to be.

Above and beyond the general coolness of the song, allow me to draw your attention to the instrumental break that begins at 2:02. On top of a chugging bass line we first hear a rather homely synthesizer sketching out a pleasant, alternative melody over a minimized background in a one-finger-plunking kind of way. The way the interval-happy melody perseveres through eight measures, and nearly 20 seconds, is almost notable by itself but check out what happens next: the melody repeats with a fuller, more driven accompaniment and with the synth line fleshed out with two hands. The melody is transformed from pleasant to essential, and the song is given an unexpected, interstitial-based climax. Leading into one more chorus, this moment is then bookended by another unforeseen move as the song withdraws in size and volume, fading out with a delightful lesson in the value of less over more.

“Let It Go” is from Young Blame, an EP the Tins released in July. The Buffalo-based trio has one full-length and another EP previously to their name. You can listen to and purchase the EP
via Bandcamp. MP3 via Magnet Magazine.

Free and legal MP3: Dive Index (gentle-assertive electro-acoustic composition)

“Pattern Pieces” – Dive Index

Music that combines the acoustic and the electronic offers a lot of potential enticements (as well as some potential pitfalls) but one of the nice things it can do is create a sonic environment at once gentle and assertive. Which is hard for either the purely acoustic or the purely electronic to do on their own, and which is pretty much what “Pattern Pieces” has going here, aided handsomely by singer Simone White’s intimate whisper of a voice and some breezy finger picking.

But the big “acoustic” secret here—acoustic in quotes because I may not even be right about this—is the central role played by percussion that sounds very organic and natural. Lord knows that technology has long since transcended my capacity to tease apart electronic from three-dimensional beats, but the larger point is the nature of the sound achieved. Central to the percussive heartbeat in “Pattern Pieces” are sounds that feel very close to the ear and belly in the way that drumming in actual physical space feels.

The other thing this song does is cycle us adroitly through a series of shifting electronic sounds. Towards the beginning, with the organic (maybe) drumming and natural vocals, the electronics we hear are generally subtle background gestures, the type of which come a bit more to the fore in the instrumental break at 1:00. Note how these are quickly followed by the entrance of a pure acoustic guitar, to keep the electro-acoustic balance flowing. A similar break at 1:50, meanwhile, leads to a more diffuse vocal section than previously which in turn migrates us to a new sonic palette (beginning at 2:30) featuring heavier electronic sounds and processed vocals. This heavier section registers as both a definitive shift and a natural-seeming progression, especially given how easily, a minute later, we are delivered back to the earlier vibe.

The Los Angeles-based Dive Index is less a band than a self-described “collaborative project”; the mastermind is songwriter/producer Will Thomas, who earlier in the millennium was recording electronic music as Plumbline. The first Dive Index album emerged in 2007. “Pattern Pieces” is from Lost in the Pressure, the third Dive Index release, out this week on Neutral Music.

(If you go to the SoundCloud page you can download this file in higher-quality .wav format.)

Free and legal MP3: Susto (rugged, tuneful Americana)

“Acid Boys” – Susto

Walking the fine and often unwarranted line separating Americana from country rock, “Acid Boys,” with its sure backbeat and rugged tunefulness, reveals the perennial power of solid songwriting and straightforward instrumentation. History will have the last word, of course, but I can’t believe that computer technology is so consequential that it eliminates the human appetite for accessible melody and music played in physical space. Sure, let’s celebrate and explore the sounds our devices can make. Just don’t throw out the guitars, okay? Or the rough-hewn voices either, for that matter.

From the musically underrated city of Charleston, South Carolina, Susto is a full-fledged six-piece band, and it is the spacious, intentional interplay of a half-dozen genuine musicians that fuels this song’s confident momentum. For example, when there is a dedicated keyboard player, the keyboard parts are inherently more thoughtful and engaging, or at least should be. Here, I like the rinky-tink piano we hear at the outside but even more I like the classic rock organ that oozes into background as the song unfolds. Likewise, a band with a lead guitarist and a rhythm guitarist can, ideally, create richer textures—sounds that you don’t always hear specifically but that add deeply to the ear’s sense of completion and certainty.

Susto has its roots in front man Justin Osborne’s trip to Cuba last year. Previously lead singer in the band Sequoyah Prep School, Osborne ended up back in Charleston to flesh out music that originated during his Cuban sojourn, first hooking up with his friend Johnny Delaware and soon adding four others to create the six-piece Susto. (Fingertips followers may remember Delaware from his most excellent song “Primitive Style,” which was featured here last year and later landed at number four in the year’s top 10 favorite list.) “Acid Boys” can be found on Susto’s debut, self-titled album, which was released in April. You can listen to the whole thing and purchase it directly from the band’s web site.

photo credit: Paul Andrew Dunker

Free and legal MP3: Fossa (a circular non-stop stream of a song)

As gentle as it is insistent, “Five Days” feels intriguingly like a song with neither a beginning nor an ending.

“Five Days” – Fossa

As gentle as it is insistent, “Five Days” feels intriguingly like a song with neither a beginning nor an ending. We are enveloped in a warm, tick-tock groove before we quite get our bearings, and when the words start they tumble out in an unflagging stream, leaving singer Louis Shadwick with few obvious places to breathe. The concept of a verse or a chorus is quickly irrelevant here, as the words pour into a circular, sing-songy pattern that manages to seem on the one hand almost spoken and amelodic and on the other hand a fully engaging melody. This is a really unusual and captivating song masquerading as no big deal.

And while there can be few young British rock bands, whichever still exist at this point, that aren’t (rightfully) influenced (and/or intimidated) by the large shadow cast ahead of them by Radiohead, Fossa strikes me as wearing the influence as lightly and creatively as just about any I’ve heard. The band’s blending of acoustic and electric is managed so that you barely notice they’ve plugged anything in at all—at least until an honest-to-goodness electric guitar shows up at the two-minute mark and just about steals the show with its lovely, meticulous line. Although the meandering but purposeful chord progression that precedes the guitar (starting at 1:32) is pretty great too, as is the guitar again, later, when it turns clangy and anarchic.

Fossa is a London-based quartet. “Five Days” is the lead track off their debut release, a four-song EP entitled Sea of Skies. You can listen to it and buy it at Bandcamp.

Free and legal MP3: Southern Boutique (brilliant lo-fi-ish, ’70s-style country-rock)

As genuine and inviting a song as you are likely to hear in our prickly times.

“Joanna” – Southern Boutique

As genuine and inviting a song as you are likely to hear in our prickly times, “Joanna” flows with a melody so effortless I have to wonder why melody has so often left the building here in the 21st century. Isn’t it just this easy?

Well, no, I suppose it isn’t. As a matter of fact, I would suggest that the overwhelming challenge presented by melody has a lot to do with why we don’t encounter that much of it anymore—an unheralded side-effect, perhaps, of the Age of Instant Gratification. It’s so simple to make and distribute songs so quickly, why sidetrack the effort worrying about a potent melody? But I am digressing, when all I intend to do is salute the Austin trio Southern Boutique, whose collective gift for timeless craftsmanship should be the envy of their peers. And yet here is a band that struggles to crack merely 100 Facebook likes, and can’t offer me even one band photo to use with this review, as they don’t have any at all. I recently by the way read an article published on a music industry web site that claimed that any band with fewer than 1,000 Likes is “not worth paying attention to.” Me, I think people who write articles like that are not worth paying attention to. Aren’t we talking about who makes the best music here? Does that really not count anymore because The Internet? Okay, I digress again.

“Joanna” is almost too good to bother to describe, but if you want a handhold into its lo-fi-ish, ’70s-style country-rock brilliance, consider a few attributes. First, we have a 12-measure verse melody, which is often the sign of a mightily constructed song. And listen to how the verse gets extended into the 12 measures via lines that feel casually added on, starting around 0:29. Only really smart songwriters know how to do this. Next, listen to the mysteriously satisfying chord progression that drives the chorus (specifically from 1:05 to 1:10 the first time around), and listen to how the melody resolves while remaining entirely off the beat. Probably only smart songwriters know how to do this as well. And then, to show their know-how extends into all aspects of presentation, check out how they manage to slide the catchy part of the instrumental break all the way down to the bottom of the mix, as the song’s bouncy bass line, now sounding tuba-like, is here augmented by what may or may not be some very good-natured wordless vocals (listen to 1:45-1:50 specifically).

Southern Boutique rose from the dissolution earlier this year of the band Tiger Waves. “Joanna” is a song from the trio’s self-titled debut album, digitally released last month and available to listen to and download, in .wav format, via SoundCloud. While you’re at it, you can give them a like on Facebook too, if that’s your thing.

Free and legal MP3: Meenk (minimal & melodic)

Brooklyn-based singer/songwriter May Rio, doing musical business as Meenk, wastes no time plunging you into her songs.

“Up” – Meenk

Brooklyn-based singer/songwriter May Rio, doing musical business as Meenk, wastes no time plunging you into her songs, eschewing introductions for cold starts. Rio in fact goes further here and pretty much eliminates instrumental breaks of all kinds, a move that subtly increases her song’s sense of purpose—it’s all swimming, no treading water. There is a four-second, beat-driven riff that recurs as an intrinsic part of the song (and acts as an exclamation point at the end), but other than that, all song moments here are singing moments. As both singer and songwriter, Rio is up to the task, moving us deftly forward with her frank, Liz-Phair-esque vocal style and the juxtaposition of “Up”‘s blunt, two-section verse with the lovely, flowing chorus.

An interesting side effect of the vocal dominance here is how minimal an impact the instruments consequently appear to have, offering accompaniment so unobtrusive you are hard-pressed even to notice the arrangement at all. And yet this is obviously not an a capella performance. I am tempted, in fact, to find something incredibly able and robust in this elusive a musical landscape. Listen around the edges and you’ll hear some very cool things, including a wavering keyboard that straddles the thin line between old school and new, and a jangly rhythm guitar that, Johnny Marr-like, ends up feeling more than a little like a lead.

“Up” is one of four concise songs on the debut Meenk release, entitled Scamu Scau, that was released digitally in June. You can listen to it and download it via Bandcamp.

Free and legal MP3: The Pharmacy (melodic, well-crafted rock’n’roll)

Someone is still making something that can be called rock’n’roll.

“Masten Lake Lagoon” – The Pharmacy

While rock’n’roll has been dying as a cultural force since the turn of the millennium, the 2010s seem truly to be delivering the death blow. The sound of the music that the young and the trendy want to be listening to seems to have little to do with the sound of rock’n’roll (admittedly an amorphous and multifaceted concept by now anyway) and a whole lot more to do with the interrelated sounds of EDM and indie pop. And I’m not saying this as a judgment, I am merely reporting. If you want a clear sign, look no further than the venerable and ongoingly trend-savvy blog Gorilla vs. Bear, which was founded in the early ’00s as a bastion of indie rock, and has adroitly morphed into something rather different.

That said, however dead as a mainstream phenomenon, rock’n’roll is not finished as an artistic pursuit. There are always going to be those who want and need more organic sounds and performances than today’s EDM-fixated indie pop is interested in providing, and, thankfully, still bands out there stubborn enough to furnish it. Like the Seattle trio The Pharmacy, whose career has pretty much spanned rock’n’roll’s death-knell phase, as the threesome sprang to life in 2002 and, in August, will be releasing their fifth album, entitled Spells. “Masten Lake Lagoon,” an initial single from the album, is not only unapologetic rock’n’roll, it is unapologetically melodic and well-crafted. Which may not be our culture’s current sweet spot but is always mine. Buoyed by scratchy guitars, grounded by a deep and supple bass line, and highlighted by a brisk sing-along chorus, “Masten Lake Lagoon” also has the gumption to veer into an extended, multi-sectioned instrumental, which takes us from 1:20 all the way to 3:01, growing more riveting by the moment; the squall of guitars that closes it out all but brings me to my feet even as I just sit at my desk writing this.

Long live rock’n’roll, 21st-century style.

(The Pharmacy were previously featured on Fingertips in February 2012.)

Free and legal MP3: Jeni Valtinson (simple, memorable)

There appears to be a gifted singer and songwriter in the process of maturing here.

“Silver Linings” – Jeni Valtinson

A first-rate diamond in the rough, “Silver Linings” has a just-born aspect about it that speaks of young talent announcing itself to the world. And, to be sure, Jeni Valtinson is all of 19 and barely emerging from the covering-pop-songs-on-YouTube phase of her musical education. But my intuition tells me there may be a gifted singer and songwriter in the process of maturing here. I receive a lot of submissions from young and unformed musicians and a lot of this music, however well-intentioned, is pretty much unlistenable. “Silver Linings,” on the contrary, is a splendid song, ably assembled and arranged, and for what the production may lack in all-out sophistication it makes up for through the simple power of the song’s sturdy construction, and in particular its memorable chorus, which presents us with an earworm of the highest quality. I have lately been singing this to myself at all hours of the day. Lovely, potent stuff.

I am also charmed by Valtinson’s vocal performance, which manages to be at once slightly uneven and thoroughly poised. The rounded, breathy quality of her voice sounds at one level slightly green and yet also moves me with moments of casual depth.

Valtinson is from Orlando. “Silver Linings” is the title track to her debut, a three-song EP, which she self-released in April. It’s available to listen to and purchase at Bandcamp. She tells me she wrote all of the songs when she was 14, and that the EP took four years from start to finish. She is listed as co-producer, which gave her decision-making power throughout. If Jeni Valtinson sticks with it, “Silver Linings” could one day pale in comparison to the rest of her work.

photo credit: Reg Garner

Free and legal MP3:DoublePlusGood (lo-fi-ish, neo-new-wave-ish)

The new wave era pop rock that inspires them was typically fabricated with glistening studio sheen back in the day; that a song like “Sometimes” pushes forward with an almost homely plainness adds to its appeal in an odd and refreshing way.

“Sometimes” – DoublePlusGood

The Portland duo DoublePlusGood (three guys in the photo, yes, I don’t know why) traffic in almost heart-breakingly straightforward and melodic synth pop. The new wave era pop rock that inspires them was typically fabricated with glistening studio sheen back in the day; that a song like “Sometimes” pushes forward with an almost homely plainness adds to its appeal in an odd and refreshing way.

And note that while couched in a lo-fi feel, “Sometimes” does not confuse lo-fi with mere muddiness. On the contrary, one of the song’s many charms is the aural accessibility of all of its sounds—there’s nothing going on that can’t be singled out and understood by the ear, which is actually an unusual accomplishment in an age when it is far too easy to layer and overlap till the cows come home. And bonus points here for the late-arriving bridge (singing begins at 2:48), with its darker, lower-register melody, and its eventual and artful meshing with the friendly and by now inevitable-sounding chorus.

“Sometimes” is a track from the the PDX Pop Now! Annual Compilation, which was released in June, in advance of the PDX Pop Now! music festival, scheduled for this weekend in Portland. Thanks to Largehearted Boy for the head’s up.