If you're looking for "I Spys," dating or LTRs, this is your scene.
View ProfilesPublished August 9, 2023 at 10:00 a.m.
Possibly (but probably not) true story: In 1609, Samuel de Champlain set his stocking-clad feet in Vermont and was immediately struck by two things. The first was how insanely verdant the Green Mountains were. ("Tout est si vert!" he exclaimed, probably wiping some blow from his nose.) The second: how prolific Vermont musicians are. Dude was barely mapping out the lake that would eventually bear his name when two bluegrass submissions, a jazz record and one very loud death metal/hardcore split EP were delivered right to the Don de Dieu. He gave them all three out of five stars and moved on to further exploration of the St. Lawrence, but Seven Days likes to be more thorough. So, we're not saying music editor Chris Farnsworth is doing more important work than de Champlain, but we're also not not saying it.
(Self-released, digital)
Burlington punk outfit the Obvious Tells is the solo project of transgender singer-songwriter Jessica Amelia. Taking inspiration from outspoken political punk acts of the '80s and '90s such as Minor Threat and Propagandhi, Amelia funnels her fury and experiences into her debut album, Pressure, delivering eight pummeling, explosive songs that document the societal struggles transgender people face.
Whether lamenting the difficulty of getting gender-affirming surgery in "Cut It Off" or the duplicity of fake allies in "Barks" and "Maybe I'm a Separatist," Amelia has a middle finger for a lot of people and raging riffs to soundtrack all those "fuck yous." She makes every sound on an album loaded with huge guitars, pounding drums and full-throated screaming, delivering a record of pure rage that doesn't let up for a moment.
Key Track: "We Will Never Die" Why: In this anger-fueled history lesson, Amelia growls out lines like "We descend from screaming queens / Who threw bricks and rose from ashes" as she name-checks iconic moments in gay history such as the Compton's Cafeteria and Stonewall riots. Where: theobvioustells.bandcamp.com
(Self-released, digital)
Guitar-slinger Robin Gottfried is back with his latest record, Wind on the Shallows. Few songwriters in the Green Mountains craft such an authentic late '70s/early '80s-tinged mix of jam-band grooves, sunny yacht rock and white-boy blues.
With more than 20 years of records on his CV, Gottfried has long since zeroed in on the sound he wants, and he executes it flawlessly. Between the octave guitar runs on "Whatcha Gonna Do" and the stabs of cello on "Beginnings," it's clear he knows exactly how to produce his music and has no desire to fuck with the formula. Nothing on Wind on the Shallows signals a new phase of Gottfried's music, but the songs are brimming with clever, tasteful flourishes and, as always, astute guitar playing. Fans of the Grateful Dead's later studio work will find much here to admire.
Key Track: "Rearview Mirror of Regret" Why: On this piano-driven, jazz-leaning track, Gottfried harmonizes with himself on a soaring chorus. Where: Spotify
(Self-released, digital)
One of the coolest things about the Burlington music scene is the whole "You got chocolate in my peanut butter!" nature of team-ups. Whether it's inevitable in a small city or Burlington musicians are just extra collaborative, great combinations of local acts always seem to be popping up. (Observe Josh Panda recently joining the Grift, for example.)
In the latest instance of the trend, singer-songwriter Lil Sickles has joined forces with jam rockers Be-er to become the So n Sos. Though their initial offering is a scant three-song EP, the potential in those songs reflects an act that is more than the sum of its parts. Sickles' songwriting and salty-and-sweet vocals color in the lines of an intriguing mix of bar ballads and country-leaning rockers. There's a little jam in there, a little rock, a little country, and the boys from Be-er are up to the challenge. All of which is to say that Sickles and co. have delivered a nice primer on what the band might accomplish in a longer effort.
Key Track: "Coming Home" Why: The band flashes some southern rock tendencies as Sickles belts out a massive chorus. Where: thesonsos.bandcamp.com
(Self-released, digital)
Under his Bishop LaVey persona, Waterbury's Kane Sweeney puts out a type of music best described as "doom folk." It's sort of like seeing Slayer hike the Long Trail, but it works.
Sweeney goes full-on metal with his OrphanWar project, crafting albums full of distorted guitars, explosive drums and huge screams. He is nothing if not unpredictable as a songwriter, and his latest OrphanWar album, III, starts with a bit of almost radio-friendly alt-rock before igniting into a thrasher that features him screaming "Bloodbath and beyond!"
As on his other OrphanWar records, Sweeney's lyrics are tongue in cheek, even if the music is deadly serious. When you're dealing with song titles such as "Blooderfly" and "Festive Scalping," it's best to have a smile while getting in the pit. III has a sense of playfulness amid the doom, with Sweeney loosening up the sonic restraints. Hints of stoner rock and screamo have entered the chat, and OrphanWar is all the more interesting for its deviances.
Key Track: "Doomsday Cult: Part 1" Why: In the heaviest hitter on a record full of heaviness, Sweeney's growls and howls take on added weight. Where: orphanwar.bandcamp.com
(Self-released, digital)
COVID-19 gave the title of "bedroom producer" a bit of an asterisk. Whereas the designation once conjured up images of bookish musicians huddled by a computer, crafting lo-fi R&B or quirky EDM, during the pandemic it came to encompass, uh, everybody for a year or two. Now, as the bigger acts return to lavish record studios, the proper bedroom producers are reclaiming the title, including Burlington-based musician Ayden Flanigan.
The University of Vermont student and drummer with indie rockers Brunch didn't technically record his debut LP "Friends" and Other Songs in his bedroom, but using his parents' basement surely gets him the same number of DIY points. Flanigan runs the gamut from sensitive singer-songwriter ("Forgot How to Sleep") to one-man college funk act ("Wa-Wa-Wawa-Wa!") to indie pop ("Lost on the Way"). Through it all, he displays a clear songwriting acumen that helps propel an impressive debut.
Key Track: "We Could Send Letters" Why: Flanigan shows off his Wilco side, channeling Jeff Tweedy on the indie rock number. Where: Spotify
(Self-released, digital)
From the depths of deepest, darkest Thetford comes Wicked Louder. Thankfully, the garage rock and darkwave synthesis project of Derek P. Lorrigan doesn't sound like the awful New England bro rock its name implies. Rather, Lorrigan seems as influenced by Daft Punk as he is by, say, Sonic Youth. Employing massively distorted vocals and washed-out production, Lorrigan layers a shroud of haze over Frustrated Mess, occasionally letting the laser-like cut of synthesizers provide color and scope to his unconventional compositions.
The album's best quality is its total disregard for flow or sequencing. The stuttering, incredibly odd "Kudzu" gives way to "Ragamuffin Hammer" and its halting space-funk, which in turn leads to the Flaming Lips-leaning "Love in Vein." There's not much in the way of rhyme or reason on the record, but Lorrigan makes this an attribute rather than a detriment.
Key Track: "For You" Why: Lorrigan rides a weirdly uneven groove in a clever slice of indie prog rock. Where: wickedlouder.bandcamp.com
Tags: Album Review
Comments are closed.
From 2014-2020, Seven Days allowed readers to comment on all stories posted on our website. While we've appreciated the suggestions and insights, right now Seven Days is prioritizing our core mission — producing high-quality, responsible local journalism — over moderating online debates between readers.
To criticize, correct or praise our reporting, please send us a letter to the editor or send us a tip. We’ll check it out and report the results.
Online comments may return when we have better tech tools for managing them. Thanks for reading.