indie rock

Record #953: Lift to Experience – The Texas-Jerusalem Crossroads (2001)

/ Nathaniel FitzGerald

It seems no matter how deep I dig (and boy, do I dig deep sometimes), there’s always some seminal release I’ve missed—even in the exact scenes I’ve been trudging through. Take for example Lift to Experience, whom I had never heard of before a review referred to my own band as “We have Lift to Experience at home” (a favorable comparison, I hope).

I’m constantly fascinated by the points of reference other people have when they hear us, so I checked out this band that we were purportedly ripping off. Truth be told, it seems like the only immediate comparison is our shared devotion to overdriven guitars and reverb pedals. But when I divorced them from the comparison, I found a wonderfully idiosyncratic record that lands directly in that sweet spot between shoegaze and post rock that I love so much—bad hip hop parody artwork aside.

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Record #938: Anchors – Adult Decisions (2019)

/ Nathaniel FitzGerald

Go to local shows.

I cannot emphasize this point enough. Beneath the glimmer of mainstream music is a thriving ecosystem of artists who are just as good (or better!) than anything you might find on on the radio. And while some folks might scoff and say, “but I don’t know any of those bands!”, the discovery is the point.

A few weeks ago, my band played a show in a city we’d never been, and we were delighted by both the reception we received and the quality of the bands we played with. For the point of this post, I’ll draw special attention to Anchors, playing that night as a solo act on electric guitar. I got a copy of the album and found that while the stripped-down arrangements helped to highlight David Black’s clever songwriting, the full band versions on record don’t obscure it any.

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Record #926: The Anniversary – Designing A Nervous Breakdown (2000)

/ Nathaniel FitzGerald / 1 Comment

They say hindsight is 20/20, but I’m not sure that’s the case. The lens of nostalgia often glazes over details with a broad brush, homogenizing the intricate diversity of moments in time into a monotone.

Take, for instance, the second wave of emo. While revisionist history might paint a scene of twinkly guitars and angular drumming (thanks, American Football), the view from the ground was far different. Emo was not nearly as much a matter of a sound as it was an ethos.

One of the best examples of emo’s diversity is The Anniversary. While emo was undoubtedly rooted in punk and hardcore, their debut record Designing A Nervous Breakdown borrows much of its palette from decidedly non-punk sources, offering up a heaping helping of hooks, harmonies, and synthesizers. While it doesn’t sound like what anyone might think of when they imagine emo, it remains one of the most well-loved emo records of the era.

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Record #925: …And You Will Know Us by the Trail of Dead – Source Tags & Codes (2002)

/ Nathaniel FitzGerald

In the summer of 2005, my high school band played a show in a dude’s parents’ garage (that dude is now a member of the excellent band JAGALCHI). In between bands, a song was playing that gave the same sort of frantic post-hardcore as At the Drive-In. I was transfixed and asked what it was. The answer was a band called …And You Will Know Us by the Trail of Dead. A couple years later, I stumbled upon their album Source Tages & Codes in the used CD section of my local record store. I bought it without hesitation.

But as I listened to it, I found it a bit too scattered to get my head around it. There were moments of the chaotic bliss that grabbed my attention, but they were brief and rare among a bevy of anthemic emo songs, theatrical prog, and, to my dismay (then) power pop songs.

With the space of two decades between my first impression and finding it for free on The Sound of Vinyl’s Father’s Day sale, I’ve realized that what I initially saw as scatterbrained is actually sprawling, offering a snapshot of the early 2000s alt scene that includes bits of every subgenre’s tendencies.

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Record #921: Frightened Rabbit – Pedestrian Verse (2013)

/ Nathaniel FitzGerald

For all my seemingly-encyclopedic knowledge of the musical landscape, I have a few glaring blind spots. There are musicians who have left indelible marks on the world that have left me unscathed. Bands with massive cult followings that I have ignored. Albums that have changed lives while I have moved on oblivious.

These omissions are numerous. But I get the notion that few are more glaring, foolish, and maybe even offensive than my ignorance of Frightened Rabbit, who for years has floated amorphously in a nebulous blob with the Mountain Goats, Mount Eerie, Lord Huron, and any other songwriter-heavy project with a full band name that my brain categorizes together because of their similar names.

But recently, a friend who is a fan learned of the Frightened-Rabbit-shaped hole in my heart and sought to fill it himself, ordering me a copy of their fourth record, Pedestrian Verse, which I gather is a dark horse fan favorite. And while it’s going to take time for me to absorb this record the way it’s meant to, it’s immediately apparent why the band is so beloved. Continue reading →

Record #915: Joe Baughman + the Righteous Few – Antichrist Complex (2022)

/ Nathaniel FitzGerald

I’ve spent much of my life trying to fight the idea that the “local” in “local bands” is a polite way of saying “bad.” After all, if they were any good, wouldn’t they have graduated from being local bands, right? We all know the universe unilaterally reward talent with notoriety to a proportional degree, right? Obviously, we know that’s absurd, but the idea persists.

One of my most frequent rebuttals to this prejudice is my friend Joe Baughman and his backing band, that is most recently called The Righteous Few. Their performances, whether in a theater or a basement, have been filled with the sort of ambitious, freewheeling quirkiness that brought acts like Arcade Fire and Sufjan Stevens to prominence. While there’s no real substitute for seeing this costume-clad beastly collective in person, Antichrist Complex is the closest they’ve ever put to tape, complete with horn and string sections, instrument changes, and lyrics just as manic as the unpredictable swirl of folk rock, funk, and gospel bursting out of the band.

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Record #882: Curtail – When the Sway Sets (2022)

/ Nathaniel FitzGerald

Sometimes, a record doesn’t need to have high aspirations to be great. It doesn’t need to redefine the boundaries of genre or have some intricate narrative thread. It doesn’t need to offer up some transcendent experience to the listeners.

Sometimes, it just needs to be really, really catchy.

And that’s about the best way I can think to describe this record from Curtail, an Akron quartet made up of emo veterans that delivers effortlessly infectious tunes that isn’t quite emo, but isn’t quite not emo either.

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Record #847: Foals – Everything Not Saved Will Be Lost—Part 1 (2019)

/ Nathaniel FitzGerald

A trip to the record store used to be spontaneous. I would usually walk out with a small stack from bands I had never heard of before, or at least albums I had never listened to. These days, I’m far more intentional with my budget. I have a to-buy list that is constantly revisited and revised with repeated listens, organized by some careful calculus of how much I enjoy it and how inexpensively I can get the record.

Sometimes though, the old tinge of spontaneity will spark again, and I’ll take a calculated risk. In this case, I had been familiar with Foals for many years—Holy Fires still gets a decent amount of play time, but I’ve never ventured into the rest of their catalog. At least, until I found a sealed copy of Everything Not Saved Will Be Lost—Part 1 (a title borrowed from the warning screen from the original Legend of Zelda) at a local shop for a price I couldn’t ignore. And as gambles sometimes do, this one paid off.

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Record #829: Gates – Here and Now (2021)

/ Nathaniel FitzGerald

Sometimes, it feels like I discovered Gates completely on accident.

I had never heard of them when I saw that they were touring with Thrice and La Dispute, two bands I love that sound absolutely nothing like Gates. I was intrigued by Wikipedia’s description of them as a post rock band, but that description clashed with the first few seconds of Parallel Lives, and it took a few other people clamoring about the record for me to revisit it in earnest.

Once I was enraptured by it, I took to searching for anything that gave me the same heart-rending mixture of indie, emo, and, yes, post rock. Their debut record, Bloom & Breathe was fine enough, but it felt far more like a Moving Mountains tribute than the band that would give me one of my favorite records of the last ten years.

So when Here and Now was released, it was one of the fastest instant-buys I can remember. And that paid off. These six songs don’t just satisfy the craving for more music like Parallel Lives—they exceed it.

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Record #827: Gypsum – Gypsum (2021)

/ Nathaniel FitzGerald

Working for a music site, I’m constantly inundated with press releases and review submissions. After a while, it all starts to bleed together, like a never-ending Pandora station with messed up seeds that plays in the background.

But every once in a while, something grabs my attention, like a nugget of gold in the muddy silt of a riverbed. As a mineral, Gypsum may not be very valuable, but the band that bears its name was enough to make me feel like an old timey prospector.

Their debut record came across my inbox and, after ignoring it until the week it was out, I was instantly enraptured by the genre-bending songwriting, rich atmospheres, kinetic grooves, and engrossing harmonies.

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