Call for Music Writers... Rock, Indie, Urban, Electronic, Americana, Metal, World and More

 
Music
Bookmark and Share
Text:AAA

This year’s Cherry Red boxset Scared to Get Happy: A Story of Indie-Pop 1980-1989 served as a reminder, in case you needed one, that “indie-pop” is a genre, in historical terms: the ragtag, individualistic style of melodic guitar-pop that grew out of post-punk in the UK. In 2013, indie-pop in one sense still means bands rooted in that sound and its offshoots, in the C86 scene, Sarah Records, etc. It’s also bands and scenes from the U.S. and elsewhere, associated with their own somewhat unrelated DIY scenes/movements leaning pop—meaning, in a sense, directed away from the macho/agro trappings of rock, but often using the same instruments.


This year, “indie-pop” was used by publications (including this one) as a descriptor for all types of music that I wouldn’t think of that way, from the pseudo-folk glee of the Lumineers to the cutesy affected music in Target ads. It’s become a catch-all descriptor of cute indie-ish music.


My personal definition of indie-pop is a mix of the historical one and a more intuitive sense for what feels like “pop” within the world of relatively non-corporate, home-crafted “indie” music. A focus on melody and harmony is a baseline trait, but I also find myself drawn to music with a sense of melancholy about the world, even within sentiments that are surface-level happy. Also, it’s music that conveys to listeners a feeling of intimacy, an impression of open-heartedness, of personalization—an approach which often pairs well with the daydreams of obsessive music fans (yes, so often indie-pop can be music about music). To use a phrase from the top album on this list, it can feel like “secret music” meant for our ears only, and at the same time like we’re being pulled into a community.


In some ways, this insularity and the aesthetics of indie-pop can be seen as reactionary. A type of response to the dominant goings-on in the world—war, corporatization, speed, narcissism, fashion. That can manifest itself in engagement sometimes, but perhaps more often in escape into a comforting embrace of sounds and melodies. Slowness, gentleness, sensitivity aren’t necessarily valued by the dominant culture.


This year’s batch of albums seems in some ways obsessed with the elemental things, with human relationships, the matter that makes up the world around us—light, air, the sun and moon—and the ways the two poetically relate within us. The heart-weather connection, perhaps.


Putting all 117 song titles in a row shows several common threads in titles alone; shared interests in hearts (“My Heart Beats”, “Check My Heart”, Our Hearts Beat Out Loud), in asking direct questions of another (“What Took You So Long?”, “Would You Be There?”, “Are You Kissing Anyone?”), and in the changing seasons (“Into the Sun”, “In the Winter Sun”, “Summer Rain”, “Seasons Change”, “Feel Winter”). Musically, those obsessions lead not just to tenderness and beauty, but also a sort of elegant, well-dressed, sophisticated minimalism.


 

cover art

The Proctors

Everlasting Light

(Shelflife)

10


The Proctors
Everlasting Light


One of a few bands on this list that comes from an earlier era, the UK band the Proctors last released an album in 1995, with a slightly different lineup. Their sound gives it away maybe—this type of dreamy guitar-pop isn’t as in fashion today. What’s remarkable about Everlasting Light isn’t just that they play a particular, somewhat familiar style very well—it’s that for about an hour these songs erase all notions of influence and familiarity from our brains, dropping us into an immersive, tuneful place where someone is singing softly to us about love, often in a deceptively optimistic way that soothes us even as we know everything is wrong.


 

cover art

The ACBs

Little Leaves

(High Dive)

9


The ACBs
Little Leaves


Young smart asses from Kansas City, singing about xannies, Television, Machete, record stores, and friends with more highfalutin’ jobs—and doing it in a hyper-melodic, hyper-friendly way. It’s pop-rock that’s giddy and at the same time self-deprecating, an approach they instigated on their 2011 debut Stona Rosa, but elevate on this, their sophomore album. As upbeat as they make indecision sound, they also aren’t afraid to slow down and expose fragility, always with a certain amount of tongue in cheek. They also aren’t afraid to mess around with standard guitar-band formulas, like on their disco-ish, fake-Barry-White-looking “Lover Yeah”, which ends the album.


 

cover art

Jim Ruiz Set

Mount Curve Avenue

(Shelflife)

8


Jim Ruiz Set
Mount Curve Avenue


Fourteen years since his last album, Jim Ruiz returns with a reconfigured group, now Jim Ruiz Set instead of the Legendary Jim Ruiz Group. Yet that gap, with the re-emergence of his musical persona, makes it feel just as legendary, or more so. This third album falls in line with the other two, which means his approach to pop is a bit eclectic, with jazzy leanings and the 1960s hanging in the air, musically, along with a couple vehicles more representative of the ‘70s (“Volkswagon Vanagon”, “Schwinn Continental”). It’s a romantic album, in atmosphere and demeanor, even while one of its chief subjects is the dissolution of love.


 

cover art

Veronica Falls

Waiting for Something to Happen

(Slumberland)

Review [11.Feb.2013]

7


Veronica Falls
Waiting for Something to Happen


Perhaps the closest to a proper rock band on this list, Veronica Falls nonetheless deal in snappy melodies and harmonies that hide an immense interest in human frailty and hurt. Their second album finds a certain romance in disillusionment and despair, in people who see themselves as broken toys, who feel like they should be buried alive. Roxanne Clifford’s voice in particular carries those feelings almost no matter what’s she singing. At the same time, the band plays these songs as inclusive anthems, asking the audience to bask in feeling the same way.


 

cover art

Amor de Días

The House at Sea

(Merge)

Review [29.Jan.2013]

6


Amor de Días
The House at Sea


The graceful, underrated collaboration between indie-pop heroes Alasdair Maclean (the Clientele) and Lupe Núñez-Fernández (Pipas) continues in a patient, dedicated way on their second album The House at Sea. That title image is a central one from an album filled with images of the sea, the sun, the air, rain, and wind. There’s a sense of loss, of fading away, within these songs, but also sensory experiences, of the way our surroundings influence, and are refracted through, our mood. The sensory side comes through too in the sounds of guitar strings and their voices, in the pleasure they take in bittersweet melodies and words.


Dave Heaton has been writing about music on a regular basis since 1993, first for unofficial college-town newspapers and DIY fanzines and now mostly on the Internet. In 2000, the same year he started writing for PopMatters, he founded the online arts magazine ErasingClouds.com, still around but often in flux. He writes music reviews for the print magazine The Big Takeover. He is a music obsessive through and through. He lives in Kansas City, Missouri.


Media
Play on shuffle the best indie-pop of the year.
Related Articles
10 Jun 2013
This isn't an album that tops its predecessor, because it really has no true predecessor. One Kiss Ends It All succeeds on its own terms, and despite the finality of its title, feels open-ended, like it could lead to anything.
29 May 2013
The Pastels continue to generate the feeling among listeners that we share a special bond with the band, that they're whispering us secrets.
7 May 2013
Lorna's sound will lull you to sleep and then wake you up with a hook, a phrase, a drum sound.
By Matthew Fiander and Arnold Pan
2 May 2013
Get the scoop on the latest albums by Vampire Weekend, Savages, and Deerhunter, as well as an extensive list of May's new releases.
Comments
Now on PopMatters
PM Picks
Announcements

© 1999-2014 PopMatters.com. All rights reserved.
PopMatters.com™ and PopMatters™ are trademarks
of PopMatters Media, Inc.

PopMatters is wholly independently owned and operated.