Summer might be winding down, but it ain’t over yet. There’s still plenty of daytime hours and warm weather to soak in. Don’t let it go to waste. Just like you wouldn’t let an Indie Dojo go to waste. Someones gotta play it.
Even though we know the majority of our readers consider themselves to be true music nerds, capable of switching between genres effortlessly, we know that some of you out there have an aversion when it comes to certain genres. We also know that gritty country and folk probably are two of those genres. Well, today we’re going to bridge the gap between those who love beats, and those who love those twangy, back road sounds.
Coming off of their upcoming EP, The Carrier, Dirtwire has offered up this dusty little number as a free download. Backed by Beats Antique Records, “Damn Rooster” has an undeniable folksy charm, populated by only classic instrumentation often associated with folk music. The slight shake of a tambourine provides ample percussion for some wicked southern rock guitar riffs, delicate banjo plucking, and a rather impressive harmonica solo.
Fusing the two sounds together, this Oakland based duo has brought these timeless instruments to 2014 with smooth, rolling bassline. Coupled with some atmospheric elements and some country-style background noises, and we’re left with an engrossing soundscape that has us wanting to head out to the country this weekend.
Skinny Love (Sebastian Carter Remix)
At just 20 years of age, Sebastian Carter has shown us time and time again that musical maturity should be merited on sound regardless of age or experience. The Swiss electronic producer’s music tends to carry an emotive weight and groove which would sail directly over some of his contemporary listeners’ collective heads; casting a stunning amount of crossover promise on the young artist’s career in the process. Already with stirring retouches of The 1975, Bad Suns, and Alt J along with a few addictive originals; today Carter’s taken Birdy’s cover of the Bon Iver staple “Skinny Love” and spun a tranquil web of house all over its pop leaning framework. With rising pads serving as a slow-burning build and simultaneous mood setting device, his airy synths are free to bubble their way to the surface while Birdy’s ethereal vocal stylings submerged in hazy reverb play as beautiful as ever amongst the wunderkind’s polished instrumentation. Sebastian Carter has certainly hit the mark again with this one, and we hope you’ll drift away with us for the four minute, alluring sonic expedition.
The Burning Past
Keep Portland weird!
While we’ve never actually ventured to the aforementioned city, which is forever immortalized by the one of the greatest shows, Portlandia, we do know that it’s rife with talented musicians. After having heard countless talented indie rock, folk, and experimental acts, we’re fully on board with what Stumptown has to offer. Not only by way of music, but also by way of donuts. We recently were graced with a Voodoo Donuts here in Denver, which has furthered our adoration.
Comprised of five members, this experimental indie rock outfit has a unique sound that’s solidified by their crooning vocals and a playful mix of charging electric guitar work laid over classical strings. One listen through to Bike Thief’s “The Burning Past” should give you ample insight into the roots of this band, which were dreamed up (assumedly over a craft beer or delicious Pinot Noir) by multi-instrumentalist Febian Perez. Aside from the brainy compilation of instrumentation, the naming was also developed by Febian, after being inspired by the Italian film “The Bicycle Thieves.”
This complex tune, which is due out at the end of this month, comes off of their debut LP, Stuck in a Dream. To accompany this dark, yet powerful tune, the band has enlisted the work of Benjamin Violet, who is known for his work with indie rock giants like Of Montreal, The Polyphonic Spree, and Kishi Bashi.
The end result can be seen below, in a glowing, bizarre, yet completely wonderful visual interpretation of “The Burning Past.”
Building up a music library can be an a crazy, unpredictable hobby. Some searches bring you loads of songs that spiral you into the golden spins of the interwebs and others….tumbleweeds. Just tumbleweeds. It’s a roller-coaster of emotions. We know. So if the unpredictability is just too much to handle (Trust us.We feel your pain), let the Indie Dojo be your guide. We’ll travel the ends of the earth for you.
Tiny Little Houses
Every man knows his plague; and you are mine.
Took The Floor Out
Tropic of Pisces
Our Man in Berlin
Why Don't We
That moment during your coffee shop session when you allow yourself to be distracted from your smartphone, and crooned to by the tune of a classical guitar and the husky voice of its owner instead – That’s the moment I have every time I hear Leo Stannard’s, “Why Don’t We”. With hints of Landon Pigg x John Mayer, the Leicester native brings out the light and shade in his vocals, putting listeners at sheer ease. It’s a challenging decision to determine which version of the track we like more, so we’ve supplied both acoustic and studio versions to remedy any possible remnants of stress you might have before the weekend.
The 18 year young, acoustic and indie singer/songwriter is currently unsigned, but rest assured that his status is merely temporary. Leo Stannard’s second EP Notions, featuring “Why Don’t We” drops on the 1st of October. Don’t miss it.
Chicago-based singer/songwriter William Fitzsimmons has recently released his Acoustic Sessions EP, in which consists of the unplugged version of four songs off his “Lions” album. Among these gems we have the acoustic version of “Fortune”, where Fitzsimmons gives an excellent display of his musical genius through minimal instrumental.
Taking away the electric guitar, the fast-paced drums, the harmonizing female vocals and replaced them with melodic acoustic fingerpicking, the bearded musician provides a stripped-down, naked and more emotionally driven version of the song. His under the breath singing is similar to Joshua Radin‘s whisper-rock style, but it surely amuses us how much this tune contributes to the audience with just his voice and a guitar. His voice is too soothing for words so go give it a listen, but we definitely want to see what other tricks William Fitzsimmons got hidden in that giant beard of his.