There are certain songs so vulnerable and fragile that listening almost feels like trespassing upon a person's soul. "Fourth of July" by Sufjan Stevens is simply one of the most painstakingly heartfelt songs I've heard in quite some time.
The song is about the death of his mother, a woman who deserted him as a child as she was wrapped in addiction. But his love remains. It's a back and forth as Stevens speaks posthumously with his mother...
Read MoreCutting Patrick Watson down to five tracks is a difficult task. Listening to him is like listening to the symphony. It's lush, atmospheric, and rains on you from all directions. Watson is one of my favorite singer/songwriters of the past few years, and he seems to have Andrew Bird's cerebral talents yet with a more distinct and at times Jeff Buckley-esque (for proof - see his wailing on "Luscious Life") voice. He has an ability to make his songs speak and gravitate more and more towards your soul. He's a special one.
Read MoreBeautiful slow jam from the silky-smooth voiced Lapsley. There's not a ton of info out there on her, but her EP Understudy was released in January 2015 and includes this gem.
Read MoreWill Butler, NOT to be confused with Win Butler, yet still confusing as they look similar, have similar voices and sounds, play in the same band, and are brothers. But besides all that jazz, Will Butler just released his debut solo album, Policy (which is absolutely worth a full listen), and this is one of my favorite tracks on it.
It's got a bit of an 80s vibe (the start of the song totally reminds me of Devo) and it has that trademark Arcade Fire sound where so many sounds culminate into controlled hysteria then come back to reality. The piano that comes in at 1:29 and a couple times thereafter makes the song, and yeah, the horns kick ass too!
Read MoreLeon Bridges has cornered the market for that old soul sound reminiscent of Sam Cooke, Otis Redding, and the like. This track takes you back to those days and gives me a sense of calm and simplicity. Bridges is gaining some recognition as I just saw his song "Lisa Sawyer" as one of NPR's favorite current tracks. He only has a few songs out, but I imagine an album is right around the corner!
Read MoreThere's not a ton out there on Soak (@Soakofficial), the 18 year-old Irish singer/songwriter. But this song tells me enough that she's worth following.
The waves of the sea echo in the beginning of this track before her childlike voice takes over. I love the line, "I don't think they know what love is / Throw around like its worthless."
Read More“As I’m getting older, chip up on my shoulder, rolling through life to roll over and die.”
Mac Demarco’s first line on the title track (and my #2 Top Song of 2014) of his album Salad Days perpetuates the strange dichotomy between Demarco’s public persona and his writing as a singer/songwriter.
One one side, there's his public persona - goofy, humorous, playful, idiotic, likable, and crude (instead of a band prayer/pep talk, I envision Demarco and his buddies playing the “Penis” game prior to stepping on stage). There's his ridiculously and I presume intentionally stupid documentary, Pepperoni Playboy, that has amassed over 500,000 views. His music videos are beyond comprehensible. His live shows are messy and completely enjoyable. I saw Demarco at The Great American Music Hall in SF, and Demarco broke his strings on three separate occasions, once asking his bassist to do a cover of Coldplay while he restrung his guitar. “Let Her Go” was played completely out of time, and Demarco laughingly stated so after they got through it. Demarco and Co. were in the middle of one song, and a fan jumped on stage, put his arms around the bassist and took a selfie. The bassist smiled happily for the camera. The show was more like a circus act, and I loved it. Demarco’s crazy persona was in full force.
Then there’s the other side.
Read MoreThe sultry and smokey voiced beauty Banks overwhelmed my ears for about two weeks straight. Her songs are sedate and the production is sparse as her voice controls the majority of tracks.
"Under the Table" is definitively simple and gorgeous. "Fuck Em Only We Know" is probably the best track name of the year, and "Beggin For Thread" easily her most accessible and catchy.
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