Renowned for having one of the sweetest and most soulful voices in independent music (which was wonderfully showcased by his short-lived first band Tulsa), Maryland-raised singer-songwriter Carter Tanton refuses to be pigeonholed. As evidenced by his new full-length solo album Freeclouds (Western Vinyl), Tanton gets itchy occupying a single genre. Freeclouds jumps from indie rock to alt country to (gulp) dub reggae. He even released an intriguingly weird remix by Atlanta-based electronic music producer/DJ Distal (available as a free download via XLR8R). These experiments are interesting, and, hey, we are all for experimentation around here, but Tanton’s wheelhouse is the fuzzy, warm indie-folk epitomized by “Murderous Joy”, wherein his dreamy, yearning, soulful even sorrowful tenor is perfectly ensconced amongst the instrumentation. With the slightest country twang, this song evokes big Western skies and roadtrips full of self-reflection. Even better is “Fake Pretend”, featuring the equally formidable voice of singer Marissa Nadler. On this track, the spacey keyboards and echo-y distortion intertwine and complement our singers’ angelic voices, culminating in a blissfully hazy synesthesia.

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It’s only a matter of time before the world knows Kelli Schaefer’s name. With a voice that commands attention, she prowls the songs on her debut album Ghost of the Beast like a feral cat, hypnotizing you in her emotionally creative world before unleashing a powerful growl that stops you dead in your tracks. The sheer whirlwind intensity of songs like “Sister K” and “Black Dog” demands repeated listens, but even when she reels it in she remains a force to be reckoned with; a strong, determined woman who currently stands on the cusp of great success and is clearly ready to take the next step.

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The Wilderness of Manitoba is a modern day Walden Pond for music lovers, a religious retreat for naturalists who covet a land of delicately plucked banjo strings and gently strummed acoustic guitars, wherein the only intrusion is the sound of arching choruses and elegant voices.

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Bahamas is the nom-de-rock of Canadian singer-songwriter Afie Jurvanen. He produces quiet and haunting acoustic music that is remarkably self-assured, given how unassuming it is at its core. His voice has a distinct restrained sound, sometimes it registers just above a whisper (think Iron and Wine), other times it has a crooner’s coolness – but the consistent star of the show is always his melodies. Bahamas relies on melodies more than any other musical device, and rightly so – they are beautiful. I’m not sure what it is, but I’m convinced Canadians have the most refined senses of melody: Ron Sexsmith, Joni Mitchell, Neil Young, Leonard Cohen and now, after discovering Bahamas I’d throw him in there with these masterful tunesmiths.

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The re-release of the 2008 debut record from this Chapel Hill, NC folk troupe leads us on an intimate exploration of a shattered family that is lyrically gripping and beautifully orchestrated. Despite the patent suffering displayed by the lyrics' immediacy, there is ample space for the baroque instrumentation to weave throughout each piece, while the guitar driven folk ballads sear into you like the most moving protest songs.

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It isn’t every day that you get to see a band with a dozen members shake out memorable tunes. Luckily Typhoon, a Portland band consisting of a stately 12 members, has released two albums and two EPs as well as a handful of beautifully shot videos that make you want to join this band and get in on the fun. Band members found each other in Salem, Oregon, and eventually found their way down to Portland – one of the Pacific Northwest musical centers – where Typhoon picked up its dozen members and began cultivating their specific blend of mystery music.

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On the surface, Trampled By Turtles appears very old fashioned. A string band in every sense of the word; banjo, mandolin and violins accompanying the acoustic guitars of front man Dave Simonett and four part harmonies nestle in the midst of seemingly traditional folk ballads. Upon closer listen though, the sheer intensity and rapid fire tempo that the group achieve within this context speak more to a rock band sans electricity or, more precisely, a hoedown on fire.

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Quick, riddle me this – what exactly is a Guineafowl? It’s sort of a trick question, or perhaps a multiple- choice question where the correct answer ends up being “D – All of the Above.” Guineafowl is at once both a boyish 22-year-old artist from Down Under who began making music on his computer only two short years ago, and a 6-piece (occasionally 7-piece) band that has recently released a new electronic, fuzzed-out indie EP called Hello Anxiety. Oh, and did I mention that the EP was recorded in under 40 hours? Let’s add “over-achievers” to the multiple-choice selection, please.

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If a band could consciously choose their own influences (amazingly, many bands can’t help what their influences are), it would be wise to pick something in the late 60’s/early 70’s. This is arguably the greatest, and coolest period in popular music and offers one of the deepest pools of inspiration to draw from. The five-piece outfit from Louisiana, known as Brass Bed, hit the jackpot, big time, in terms of influences. Listening to their songs is like listening to a glossier version of Big Star’s #1 Record, or even, dare I say it, Sgt. Peppers. Their music strikes a healthy balance between accessible and experimental, much like the groups that influenced them; however this is hardly a throwback band – Brass Bed takes the elements of 60’s pop and takes a promising step forward with their own interpretation.

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If you like your country music smart and sensitive, the duo of Sarah Lee Guthrie and Johnny Irion are exactly what you’re looking for. The delicate vocals and melodic harmonies echo the vulnerability that lurks under the surface of every song. Their music is bursting with genuine emotion, and it shows in every tune they play; from the lively Speed of Light to their more somber Cry Quieter, their show sparkles with authenticity.

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