20. Houndmouth – Little Neon Limelight
Houndmouth – Sedona
Houndmouth, from New Albany, IN, are story tellers. American stories from various periods told through the filter of colorful characters over ramshackle folk rock. All four bandmembers seem to be capable of singing and playing anything – and with such jubilation. A swirling wind opens “Sedona” which sets the mood for a tale about the old west. The song builds with gentle guitar plucks and the band’s trademark multi-part harmonies, eventually rollicking off into the sunset. “Otis” embraces southern gospel and “15 Years” is a lively rocker about a chain gang prisoner in the old south. Standout pensive ballads “For No One” and “Gasoline” feature Matt Myers’ ragged tenor and Katie Toupin’s charming twang, respectively. Since all four bandmembers sing, we are treated assorted personalities, but there is nonetheless a unified voice throughout. Between song chatter is occasionally left intact, which brings to focus the foremost quality of the album – it captures the sound of a band playing live in a room.
19. Warren Haynes – Ashes & Dust
Warren Haynes – Spots of Time
Warren Haynes is arguably the hardest working artist in music. The immensely talented musician has been a significant part of The Allman Brothers Band for over 25 years and takes breaks from his primary band, Gov’t Mule, to record with an arsenal of artists and tour constantly. Haynes has never been the typical bluesman, preferring thunderous southern hard rock song structures and, as is on Ashes & Dust, roots music with doses of intricate jazzy passages. “Is It Me Or You” is a breezy folk tune with Haynes electric slide guitar and passionate singing cutting through the banjo picking. “Coal Tattoo” follows a similar ilk but with more jamming and extended interplay with backing band Railroad Earth, which he employs as perfect accompaniment throughout the album. A live track from the past, “Company Man” moves along on an old western shuffle and the Blues meets baroque-piano-pop of “Stranded In Self-Pity” is a standout track. Also a highlight is the lengthy “Spots of Time” featuring a beautiful guitar solo, right in his wheelhouse. Utilizing a wide palette of instruments and typically stellar playing from these seasoned composers, the album has a cozy vibe while impressing repeatedly. It’s real showcase, however, is Hayne’s songwriting and focused vocals.
18. El Vy – Return to the Moon
El Vy – Need A Friend
This sparse but funky side project collaboration from Matt Berninger of The National and Brent Knopf of Ramona Falls is a quite enjoyable listen. There seems to be a loose, playful theme involving members of the influential punk band, Minutemen…or stories of them. This is an inside joke on “Return to the Moon (Political Song for Didi Bloome to Sing, with Crescendo)”, but directly referenced later on “It’s A Game”. It’s an album of abundant references – ‘Beatlemania, Husker Du, The Smiths’ on “Paul Is Alive” – including locales in Berninger’s hometown of Cincinnati. On the bass-heavy churn of “I’m the Man to Be”, he displays a cocky swagger and garishness not present on his main project. These electronic-tinged arrangements have scattered, rich coloring and often memorable hooks – especially on “Need A Friend”. The hard-edged “Sad Case” discusses emotions around the civil unrest in the Ferguson, MO shooting. The song segues directly into the pulsating “Happiness, Missouri”. This album is no doubt engaging to me due to Matt Berninger’s always awesome vocals, but its value as engaging dinner music and late-night lounge tunes is quite clear.
17. Nathaniel Rateliff & The Night Sweats – s/t
Nathaniel Rateliff & The Night Sweats – S.O.B.
This self-titled debut is a rich collection of rollicking fun tunes – which is all you need sometimes – though truth be told, there’s a variety of tempo and subject matter to enjoy here. This is exuberant, vintage roots rock soaked in swagger and reverb – which I always dig. The album is full of themes of growing older and how we help each other through all the falling and failing. Opener “I Need Never Get Old” contains the ideal amount of forceful rhythm and thoughtful musings. Rateliff tunefully howls “I won’t let you go” in “Howling At Nothing” and “I’ve been failing you” in the piano-led “I’ve Been Failing”. The hugely popular “S.O.B.” is so for good reason – a mover and shaker of the highest order while slyly depicting the perils of insidious addiction. These flawed characters take a break from the loose and ragged for the softly melodic “Wasting Time” and sapid “Thank You”. As much as I enjoy this album, I will be hoping for more divergence next time out. Regardless, the ability to craft loose ramshackle tunes while keeping it all together is extremely well done, and it’s quite satisfying to hear how gritty foot stomps and hand claps can be.
16. The Districts – A Flourish and a Spoil
The Districts – 4th and Roebling
I sometimes hear people say there are no good, young rock bands anymore. To which I say, you need to update your listening sources. Ignore my pretentiousness and just take this as a recommendation. The Districts rock with all the young angst and aggression you may be looking for, albeit with a modern melodic wistfulness. A Flourish and A Spoil is their second album, and it’s full of passionate playing and singing with enough twists and turns to provide counter arguments to every plea. “4th and Roebling” might be the best song of the year with brash dynamics and earnest vocals about how we change and value different things. “Peaches” and “Hounds” have engaging, swirling indie-noise soundscapes with the latter making use of multi-tracked falsetto vocals. The jangly “Sing the Song” contains one of the few catchy singalong lines but also employs layers of vibrato electronics. An album theme of small town condition and ignorance appears in plain-spoken fashion on “Suburban Smell” with only a backing acoustic guitar. Another highlight is the near nine minute “Young Blood” which goes from introspective lyrics on love and loss to adding washes of electric guitar and a solid jam. Rob Grote’s voice takes on an emotional persona throughout this album with an enjoyable lo-fi production. With this release, The Districts show real promise.