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The Good Life – Album of the Year

The Good Life’s latest album Album of the Year must be the most appropriate name, sharing intimate stories between the narrator and a lost love.



Once upon a time, a fairly new band named The Good Life swept the indie scene with a burst of music that was a deadly concoction mixed of sorrow, love, and three parts vodka. [Please drink responsibly and preferably not after breaking up with a loved one.] Having developed a fine underground fan base with his band Cursive, Tim Kasher and his crew of sulking broken hearts create another album to add to the Saddle Creek collection. The Good Life’s latest album Album of the Year must be the most appropriate name, sharing intimate stories between the narrator and a lost love.

Kasher uses his expert lyricism and blends it together with a folk sound. Using a mix of acoustic guitar, electric guitar, piano and barely audible drums; The Good Life brings life back to nights of contemplation. Kasher’s songs are more like short stories expressed severely hurt. Mainly writing about harsh break-ups or seeing an ex-girlfriend from high school at the local Starbucks, the Good Life keeps true to their old familiar sound while portraying life affirming love stories.

The first song off this 12-tracker depicts a long-term relationship within three minutes. From the first time they meet (in a girls’ bathroom) to the day she moves out. Kasher brilliantly plays a steady folk guitar in the background with a little twang of electric guitar; and by the end of the song, a steady drumming of a bongo and snare. The beat picks up and then it’s full-on Kasher magic. Still, the lyrics are deep as tears fill your eyes. The Good Life directs your senses to another point in time as well as place. They have redesigned the meaning of story telling. We sit in front of an open fire and roast marshmallows while Kasher converts the fire into lime light. He changes “kumbayah” into songs like “You’re Not You” or “Inmate.”

In the song “Notes in His Pockets,” Kasher describes a love affair outside of the relationship. With quick timing lyrics and the pouncing of the drums creates panic within this delicately written song. Adding out of tune chords from the piano, The Good Life demonstrates an act of adultery which is overlooked sometimes in relationships … an old girlfriend can meet you in the future and rekindle the flame that once was shared between each other. Painful and true, Kasher is quick to the draw with his song “Night and Day.” Another slow ballad with appreciation for the little details of life. Like “cuts on her legs,” the Good Life will leave an open scar on your soul and keep you sedated for hours.

At least you get to hang out by the campfire.

(Saddle Creek Records)


Berwanger – Watching a Garden Die

Josh Berwanger continues to evolve as a songwriter



At the height of Vagrant Records’ early success in the late 90s, the label was buoyed by the incredible draw of their two biggest names- The Get Up Kids and Saves the Day. And while those two bands took a chunk of the notoriety, there were plenty of great bands that called the label home. One of those bands was The Anniversary. The Lawrence, Kansas band shared musical similarities with both TGUK and Saves the Day, but were unafraid to branch off into slightly more synthesised terrain that gave their songs an added element. Coupled with their super easy to digest harmonies and fantastic male/female vocals, songs like “The D in Detroit” still has a place in countless “favorite playlists” all these years later.

Since their initial break-up, guitarist and vocalist Josh Berwanger has been busy writing and recording a bevy of music under the moniker Berwanger. His recent discography is a talented kaleidoscope of songs that traverse genres from folk and indie, to more rock and straight forward singer/songwriter fare. There was plenty to like on his 2016 album Exorcism Rock, an album that delved into a little bit of psychedelia and fuzzed out indie rock. His 2017 album And the Star Invaders saw a gradual move away from the more electrified to the imaginative kind of singer/songwriter we’ve seen from the likes of Devendra Banhart. True to form, Berwanger continues to evolve as a songwriter, and his latest, Watching A Garden Die, is the next chapter in his thriving songwriter cabinet.

The gloomily titled record is mostly upbeat and diverse. While he may have shown a kinship to indie/folk songwriting of the Banharts and Obersts of the world previously, Watching a Garden Die features the kind of seasoned and more classic toned work you’d find on a Crosby, Stills & Nash record, or even a Paul Simon record. Songs like the softly, almost whispered “Even the Darkness Doesn’t Know”, and quietly moody, introspective “Paper Blues” (until that electric guitar solo hits) harks back to a time long ago of unfettered hair and soulful folk music. The album’s best moment is probably a combination of the wistful, pedal-steel toned Americana of “When I Was Young” and the equally effective, spacey indie rock of “The Business of Living”. The latter giving Grandaddy a run for their money in that music department. These two songs in particular showcase an artist fully aware and capable of his abilities to craft music that’s personal but exhibits the kind of draw you want from a record this close to the heart.

The album doesn’t have the more ruckus moments Berwanger exhibited in his earlier work (outside of perhaps, the more upbeat power-pop, new wavy “Bad Vibrations”). At times the album takes just a few listens to grab you. But when you listen to songs like the spritely “Friday Night” and the somber reflection of the twangy “I Keep Telling Myself” a few times more, you find the depth of the record. There are elements that reveal themselves on the second, third, fourth listen, and that’s rewarding.

Berwanger’s songwriting ability was never in doubt, and his new material continues to expand his songwriting reach. Watching a Garden Die, while not a frantic effort, is quiet composure.

(Wiretap Records)

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Fences – Failure Sculptures

Failure Sculptures is a steady outing



Christopher Mansfield, under his alter-ego, Fences, has made himself well known through the collaborations with Macklemore and Tegan & Sara. It’s set him up with well-deserved excitement for his new album Failure Sculptures. The genre of pop scores a good reputation with artists like Fences. I wouldn’t necessarily categorize this album as pop, but Failure Sculptures has catchy songs that will appeal to a large scale, however it keeps the integrity of accomplished music. Each song provides a story that allows you to drift into your own thoughts. He also uses idioms like there is no tomorrow.

“A Mission” is a lower-toned song that launches the album with an echoing sound of voice and guitar, and it sets an example of the whimsical type of music that is shown throughout the album. Mansfield has a way with words and was definitely listening in English class. A+ for storytelling. OK, you twisted my arm, I’ll point out some idioms: “body sways like trees in a storm” sung in “Paper Route” and “lately I just pass by like a cloud” heard in “Brass Band”. It’s a great way to paint a picture in your listeners head.  

“Same Blues” exposes a folk side to Fences. It has a lovely addition of cello in the background. It is enchanting and flows so well, which makes a terrific inclusion to the album. The plucking and acoustic sound of “Wooden Dove” has a powerful effect, and suits the song well. It follows the theme of echoes and storytelling. Although “War Kid” is a song about divorce, it is a pleasant way to end the album, and it features more idioms; “tears falling like bombs“.

This type of music allows you to drift and flow in and out of your own thoughts. It’s a friendly haunting and emotionally driven set of songs (and don’t forget about the idioms), and while it is quite predictable in a pleasant way, Failure Sculptures is a steady outing.


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