Chamber Pop

VIDEO PREMIERE: Slow Dakota - Cherry Mary Michigan

Will Shenton

On "Cherry Mary Michigan," director Britta Lee's second music video for Slow Dakota (and, somewhat unbelievably, her second music video ever), we return to the dreamlike Midwestern landscape she explored in last year's "The Lilac Bush." Once again featuring Lee's younger siblings in costumes that place them somehow out of time, the video's impressionistic narrative serves as both a vessel for and foil to PJ Sauerteig's lyrics.

Where Lee's imagery is decidedly rural, "Cherry Mary Michigan" is a song about urban isolation. At its climax, Sauerteig laments, "Why on earth do I live in this prison / Solipsistic overstimulation / Every day, twenty-two blocks of cat-calls / Every night, twenty bills I can’t pay." We're invited to synthesize the two scenes, recognizing alienation in both the bucolic and the metropolitan. It's a conclusion we'd do well to remember: much as we may want to escape, there's no running from ourselves.

REVIEW: Laura Wolf - Stitch One


Phillipe Roberts

In an Old Spruce Sessions video released in August of this year, Laura Wolf performs two songs off of her latest EP, Stitch One. The rendition of “Circles” is spare and lovely, but it’s her version of “Good” that truly shines. On the album, the track feels spacious; her strong voice, the various cello melodies, finger-picked guitar, and percussive slaps are panned and separated, breathing into one another. Live, sheltered from a sudden storm in a tiny tractor shed, Wolf gradually weaves the song into shape, each layer perfectly visible for an instant as she threads it into place. Though it takes a full two minutes longer to perform, seeing the bones of the track laid bare does much to peel back the artistry at work in Laura Wolf’s songwriting. Hearing them sewn up and refreshed on Stitch One, the songs take on a grandiose new scale. It’s a wholly different experience, but a rewarding one if you give them time to reveal themselves.

Perhaps the only fault in those live sessions, and live looping in general, is the destructive electronic effects of piling on so many layers. And if the live version of “Good” is any indication, Laura Wolf’s songs are dense; she pauses to add handclaps and slaps to the bridge of her cello for percussion as well as two switches from her primary instrument to the guitar slung over her back. The sounds end up squashed, each piece losing some of its distinct tonal character.

Stitch One does away with the distortion, and the clarity allows the remarkable amount of arranged detail to spring out at you. “Circles” gains a ghostly instrumental interlude with melodic screeching as the strings flutter in the distance. The added low end on “Body Part” drives the beat harder, giving the track an epic, anthemic feel, and the slight solo just before the outro feels gritty but optimistically adventurous.

For the most part, Laura Wolf’s vocals lean towards folk, but there’s a clear theatrical element at key parts that heightens the emotional drama at play. This influence is most keenly felt on “Stitch Two,” where her intense vibrato meanders through folk guitar, erupts in a pre-climactic roar, and descends back into gentle arpeggiations before her triumphant belting dissolves into multi-part harmony. By comparison, the slow, heartbreaking story of “Chinese Finger Trap” contains a few lofty moments, but takes a more straightforward melodic approach to sifting through the rubble of a broken relationship.

Wolf ends her first EP with a brooding instrumental that serves as the title track. “Stitch One” blooms out of a mournful yet cinematic melody; the scope feels huge, suggesting wide-open spaces while filling them with slight dissonances that press in at the margins. But steadily over the course of the song, brighter and bolder harmonies slip in until the track is spilling over with light at its close. It's a fitting end for a record so invested in the healing power of process.

PREMIERE: Laura Wolf - Good

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Laura Kerry

Laura Wolf is a one-woman orchestra. In live shows, she drapes herself in instruments, trading her cello for electric guitar and vocals as she builds complex songs one voice at a time with the help of a loop pedal. “Good,” the first release from Wolf’s upcoming debut LP, Stitch One, models the artist’s process beautifully. Beginning with a low, urgent cello patter—a steady foundation almost all the way through—she adds escalating lines of cello that swell and recede in intriguing rhythms. Percussion enters, breathy at first, then more substantial, followed by quiet electric guitar arpeggios.

Throughout the course of “Good,” Wolf’s vocals also build. At the start of the song, her voice is soft and pretty, carrying leaping, intricate melodies that sound light and optimistic. When she first sings the refrain, “I’m just trying to be good,” it tapers into a near-whisper, then dances delicately in a high register. As “Good” develops, though, it darkens. Wolf first started working on Stitch One while in the hospital last year, and the song alludes to that setting and her experiences there. In the bridge, she half-sings, half-speaks about a knife in her back, snarling, “I jumped every time they touched my fucking spine” as a chorus of voices repeats “I just want to be good” in the background.

Transitioning from soft to tough and gritty, the song suggests that the effort to be good—healthy, virtuous, or otherwise—can be challenging. In her new release, Wolf meets the challenge with a lush and distinctive sound. Check it out on "Good," and keep an eye out for Stitch One, out soon.

PREMIERE: Lily Konigsberg and Andrea Schiavelli - Good Time / New Age Old Home

Laura Kerry

You never know exactly where you’ll find Lily Konigsberg. One moment, she’s playing frantic, deconstructed pop and punk music with her band Palberta, and another, she’s trading experimental jams with the jazz-inclined Horn Horse for a collaborative album. Now, Konigsberg has emerged from Upstate New York to join forces with Andrea Schiavelli on Good Time Now.

In two new tracks, “Good Time” and “New Old Age Home,” the two artists use very different voices to form a cohesive conversation. In the former track, Konigsberg presents a delicate chamber-pop song that is bright but has gloomy undertones. “I want to have a good time,” she repeats in an oft-used pop refrain, soon revealing the impetus behind this desire: “Now you’re gone ... I see faces of you all the time / And I begin to wonder / Why did you do that?” When it cuts out abruptly at the end, the question hangs.

In Schiavelli’s track—a sparse composition that manages to dwell at the intersection of Tears for Fears and Bruce Springsteen—the narrator also deals tangentially with loss. “No one wants to leave the party lonely / No one wants to leave the party early / Are you really gonna to leave without me?” the artist sings, a wistful series of observations and questions delivered in a flat but echoing tone. Like “Good Time,” “New Old Age Home” also ends on a piercing question: “Are you really gonna live forever?”

We don’t know what’s to come on the album or where she’ll end up next, but for now, find Konigsberg in a sad and pretty dialogue alongside Schiavelli on Good Time Now.

VIDEO PREMIERE: Stolen Jars - Gone Away

Will Shenton

With their phenomenal sophomore LP, Kept, Stolen Jars established themselves with one of the more distinctive sounds we'd come across in 2015. Their follow-up, glint, is a similarly unique EP, comprised of five tracks that explore "themes of loss and renewal ... finding hints of memory in the present and trying to keep sight of them just long enough to let them go." On top of all that, it's a video album, each song accompanied by evocative visuals.

The fifth and final video, "Gone Away" (directed by Marissa Goldman), is a vignette from the end of a marriage, depicting the moments when familiar places become abruptly foreign in the wake of emotional upheaval. Against the backdrop of a somewhat fantastical apartment (made even more so by liberal use of green screen), we watch as a woman suddenly grows too big to fit in her living room. Stolen Jars' signature percussion and gorgeous male-female duet scores the scene, which concludes with our protagonist calling to tell her boss she's going to be late for work—presumably admitting for the first time that she needs to grapple with her loss.

"Gone Away" is brief, but nonetheless powerful. Like the rest of glint, it's a story of pain and the hope that springs from its depths. In that vein, 25% of all sales of the EP will benefit the Sylvia Rivera Law Project, a legal aid organization that "works to guarantee that all people are free to self-determine gender identity and expression, regardless of income or race, and without facing harassment, discrimination or violence." So if it resonates with you as much as it did with us, we highly recommend picking up a copy.