A recap of recent under-the-radar music releases
The Head and the Heart – “Aperture”
The Head and the Heart could loosely be termed an indie-folk band, but that label doesn’t begin to describe its introspective yet adventurous sound. Built on a foundation of atmospheric ambiance and dense designs, they could be compared to other richly revealing outfits such as Watchhouse, Iron & Wine, My Morning Jacket, The Low Anthem and The Decemberists. Like those other bands, the group’s sumptuous melodies tend to be as radiant as they are revealing. With “Aperture,” the Seattle-based band expands on that notion ever further courtesy of an introspective sound that bursts forth courtesy of prominent choruses and expansive arrangements. The contrast reflects the contradictions (implicit in the band’s handle) between what the head commands and the heart desires. Most importantly, the songs are absolutely infectious, all soft-hued melodies bathed in a luminous glow of irrepressible intrigue. There’s a decided depth to the music that makes repeated listens all but essential in order to grasp all the majesty the music has to offer. Ultimately, it’s easy to consider this particular “Aperture” an ideal opening as far as any ongoing engagement is concerned. It is nothing less than a wonderful record. (theheadandtheheart.com)
Forest Sun – “No Finish Line”
Forest Sun is a seasoned troubadour whose string of albums has made him a leader in folk-rock and singer-songwriter realms. That’s a crowded field, of course, but Sun’s engaging melodies and softer sounds make each of his entries an instant enticement, even on first listen. While certain songs sometimes convey sadder sentiments – “Never Been” and “You’ll Have to Find Your Own Way Now” being two of the more obvious examples – they never wallow in self-pity or any appearance of distress. “America I Love You” is an ideal anthem for today’s times, an expression of affection cloaked in worry about the way the nation seems to have lost its moral compass. “America I love you, but you make me paranoid,” Sun sings, evoking LCD Soundsystem’s James Murphy. On the other hand, “Autumn in Montreal” sounds like a twilight tune worthy of being regarded as a classic cabaret ballad, a romantic affair woven with reflection and reminiscing. “No Finish Line” promises that Sun is still in his stride, and one can only hope that the promise suggested in the title is an indication of what’s still in store. Some 15 albums on, he’s yet to lose his luster.
Susan Anders – “Now I’m a Kite”
Susan Anders is a special talent. Her material embodies sounds that are sassy, sensual, soulful and sentimental, all within the span of a 13-song set. It’s not quite pop, not quite folk, but rather something that incorporates elements of each. It was spawned from difficult times: the death of her father, the scourge of wildfires in her native Oregon and her partner’s prostate cancer diagnosis (which he fortunately was able to overcome). As a result, it rings with poignance on tracks such as “Shoes” and “More of That,” each of which conveys a knowing approach. The music is by turns both hopeful and philosophical, as evidenced by the deep lyrics that bind the thoughts together. “Now I’m a chorus girl who steals the show while exiting stage right,” she sings on the moving “Last Dance of the Night.” “Moving Target” finds her pondering, “Why can’t my soul find a home and park it?/Happiness I guess is a moving target.” “Tiny Hopeful Signs” and “I Quit Blaming You” are striking both in terms of melody and meaning. Overall, “Now I’m a Kite” takes Anders to new heights. (susananders.com)
Blue Cactus – “Believer”
Led by songwriters Steph Stewart and Mario Arnez, Blue Cactus makes music that’s best described as atmospheric Americana. This, the group’s third album, qualifies as an able follow-up to their two previous outings, a critically lauded self-titled debut and sophomore effort “Stranger Again.” This time around, Stewart is featured as the sole lead singer, an apt choice considering the emotionality of the songs. They were written in the wake of a series of chronic health problems and a period of creative setbacks that hindered both her personal and professional pursuits. Nevertheless, as the title implies, none of these issues dulled the duo’s determination, and what emerged is a series of quietly confessional songs that extend well beyond the usual contemporary country confines. There’s a quiet cadence inherent in each, giving tracks such as “Take All Day,” “Believer” and “Kings” a tender tapestry flush with both radiance and rumination. It’s the sort of sound that sets them apart and makes Blue Cactus a distinctive musical entity unlike any other. Suffice it to say that “Believer” will likely make believers of those who were unfamiliar with them before.
Webb Wilder – “Hillbilly Speedball”
Webb Wilder boasts some enviable credentials. A member of the Mississippi Musicians Hall of Fame, he’s an irreverent country crooner whose self-effacing humor sets him apart from those that tend to take themselves way too seriously. Once referred to as “Tom Petty for the trailer-park set,” he has at one time or another hosted a radio show on Sirius, deejayed for WMOT and acted in a spate of bit movie roles and his own cult classics “Webb Wilder Private Eye,” “Horror Hayride” and ”Scattergun.” Naturally, radio informed his interests. He was inspired to make music early on, and his influences can be traced back to the music he was weaned on long ago. It’s hardly surprising, then, that “Hillbilly Speedball” consists almost entirely of covers mostly of a vintage variety. It offers Wilder a chance to rock out, which he does on the title track, Chuck Berry’s “Beautiful Delilah” and “The Last Song (I’m Ever Gonna Sing),” which was composed by Sonny Curtis and Jerry Allison, members of Buddy Holly’s Crickets. The set contains several other standouts, as well, including a take on the old standard “Sorrow” (famously covered by David Bowie on “Pin Ups”) and the blustery blues that inform “Tell Mama” and “V-8 Ford Blues.” This particular hillbilly provides one hell of a ride. (webbwilder.com)
Greta Gaines – “Bird Before Light”
Gaines is a multi-talented individual whose skillset extends far beyond the music she makes. As a snowboard champion in the early days of the sport; the owner and operator of her own label Big Air Records; the originator of “Freeride,” a series devoted to lifestyle, music, extreme sports and the environment; an advocate for NORML; and an on-air commentator for MTV, ESPN and Oxygen Media, she makes music as expansive as the outside activities that steer her interests. Her new album is an obvious example. “It’s about getting out of my comfort zone as a songwriter, one who typically writes alone and in solitude,” she explains in her bio. “It explores certain themes that I find myself wrestling with in midlife – empty nesting, newfound anxiety, resistance to change, grief and betrayal – while also pursuing faith, finding the simple joy that comes with sharing time with old friends and immersing myself in the beauty of nature and the natural world.” The results of those efforts find Gaines expressing both her hopes and fears from an optimistic perspective. “Coming to Fruition” is bright and upbeat courtesy of its catchy chorus. “Moderation” is clever, self-effacing and shared with introspection and insight. The sturdy strains of “Sonic Boom,” “Harm’s Way” and “What Do You Want” contrast with the dreamy desire found in “Tenderhooks” and the steady devotion of “All Yours.” The sum of its parts allows “Bird Before Light” to fully take flight. (gretagaines.com)
