Shriek, the fourth full-length from Baltimore dream pop duo Wye Oak, represents a drastic change for a band that never needed one in the first place. Just a few years ago in 2011, Jenn Wasner and Andy Stack were doing just fine for themselves composing delicate, wispy acoustic tunes with their third album, Civilian. This LP’s sound, although not entirely different from anything these two had done in the past, was tighter and more affecting than usual, and seemed to hint that Wye Oak would one day make a truly unforgettable indie folk record, something even better than a great meditative collection.

Turns out that prediction was wrong — well, only in part. Shriek is most certainly not an indie folk album or a meditative piece; however, it’s their sharpest and most direct album yet. Instead of using hushed acoustics and tranquil vocals to achieve dreamy eloquence, Wye Oak instead employs vivid synths and fluid bass, without even the slightest hint of guitar. As told to SPIN, Wasner’s decision to radically reform Wye Oak’s sound was a life or death situation for the act: “[While writing Shriek], there was all this weird baggage associated with the guitar for me, and I couldn’t get around that,” she grieved. “It was a block. I had to sidestep the block in order to be able to make anything.” And sidestep the block she did; in fact, she’s leapt over it. The novel sound Wasner and Stack convey on Shriek is braver and more affecting than anything they’ve done to date, although it’s a formula they have yet to perfect.

From the moment the warbly, disquieting synths of “Before” open the album, it’s obvious that Wye Oak is going for something different here. This song’s empathic vocal delivery and lush synth beds are fleshed out even more fully on the title track, which follows in sequence. Wasner’s breathy vocals and milky synths flood the music with anguish, as they do on Shriek‘s true slow-burner, “I Know the Law.” This tune would blend in near perfectly on Beach House’s masterpiece-to-date, 2010’s Teen Dream.

Actually, Wye Oak’s trajectory to date slightly mimics Beach House’s musical path. The latter act too started their career in lethargic, desolate dream pop (“Apple Orchard”, “Heart of Chambers”), eventually progressing to direct and unexpectedly heartwarming synthpop. It’s an interesting comparison because it suggests how far Wye Oak has come: just as Beach House’s more recent output, the most tactile and lively material in their catalog, has drawn significantly more acclaim than their early albums, so too should Shriek as compared to its predecessors. Songs like Beach House’s “Norway” and “Myth” find matches in Shriek‘s “Glory” and “The Tower”, respectively.

It’s no coincidence, then, that these two tracks are Shriek‘s strongest (but maybe it is a coincidence that these are the album’s two singles). Placed back to back early on in the album, they’re the most immediate moments present, and deviate a tad more obviously from Wye Oak’s past work than the rest of what’s here. Although the short ambient intro to “The Tower” could segue directly into a Civilian-style acoustic hymn, it instead swells into a massive strut of synthetic sparkle and slinky low notes. Wasner’s voice sounds unusually cold, an excellent match for the arhythmic synths defining the song. “Glory”, on the other hand, is pure warmth and ecstasy: percussive pounding, essentially the complete opposite of the ambience introducing “The Tower”, initiates this track. A thick bassline quickly appears, with snippets of synth warbles outlining the soundscape. The chorus of this track is arguably Shriek‘s most explosive: a surprisingly funky bassline and synths that almost feel like they’re hugging you envelop Wasner’s emotive, exasperated vocals.

If “Glory” isn’t the pinnacle of Shriek‘s outwardness, then this award goes to the track following it, “Sick Talk.” Synth crests outline this sweet, sugary tune, and eventually ascend to watery waves of creaminess during the song’s Friendly Fires-esque chorus. Although the breathiness of Wasner’s vocals makes her exact words somewhat difficult to understand here, this quality doesn’t stop them from sending chills up her listeners’ spines. Really, though, there aren’t too many songs on here where Wasner’s words are fully discernable, which is unfortunate since she may well be saying some incredibly affectionate, relatable things. Take, for example, “School of Eyes”: right before this song’s first chorus, Wasner says something along the lines of “my hand is mine/even when you hold it”, but the heft of her voice disguises her words too much to confirm this.

This problem with Wasner’s voice isn’t limited merely to “Sick Talk” and “School of Eyes.” “Paradise” and “Logic of Color” are particularly guilty of this sin, and of something even more troubling: these tunes simply aren’t as enjoyable as the songs comprising Shriek‘s first half. Indeed, Shriek is a frontloaded album, but that’s not to say the back half is completely flat. “Despicable Animal” is definitely interesting and almost psychedelic, and the uneasy bass of “Paradise” is impossible to track down elsewhere on the album.

Shriek expends its best moments rapidly, yet it somehow stands tall as Wye Oak’s finest accomplishment. If Wasner can learn to elucidate her vocals and enunciate her words, and both Wasner and Stack take steps to keep their formula engaging for all forty minutes of a typical album runtime, then they’ll certainly make the truly unforgettable record that’s suspected to lie within them. Until then, we’re left with a slew of blissful, sensitive songs that, despite the inevitable Beach House comparisons, probably could have come from no one else.

Folk music without the stereotypical vocal twang is what Fencewalker brings to the plate with her EP Mourning the Whale. Her vocals may lack the overall classic folk twang but her musical backing is true blue folk (AKA there is some banjo goodness in a good number of the 8 songs on the album). Fencewalker reigns from Philadelphia, PA and claims on her Facebook page that the album was created with “me, fruity loops, and a cat in a basement with a resonator, and a piano, and whatever else I can accumulate.”

Mourning the Whale has a certain rawness to it that is prominent and honestly what makes live shows the creative and exhilarating experience that they are. Fencewalker’s vocals are soothing and smooth which relaxes the listener into a lull of peacefulness that would be perfect for a rainy day and a hot cup of tea. That being said, there are some times during certain songs (“Shoulders” and “Colors” for example) where the guitar and other instrumental backing seem to get off kilter and begin to feel jumbled and confused in comparison to the dreaminess that preceded the musical error.

The most interesting track on the album would have to be “Deceived”. “Deceived” is not only the lone semi-upbeat song, contrasting with the general calm of the rest of the EP, but it also has the most vocal range (“Hold” also shows some vocal experimentation).

In general, the Mourning the Whale is a good start for indie folk musician Fencewalker. The EP gives the listener an idea of what Fencewalker is capable of creating as an artist, but as a listener myself; I wish the album had more exploration in vocals. Don’t get me wrong, Fencewalker has a wonderfully sultry voice, but it seems like she could do so much more with her voice.

Listen to the stream of Fencewalker – Mourning the Whale:

What do you get when you take a heartfelt dreamer, give him a magnificent voice and phenomenal guitar abilities? You get John Goraj.

John Goraj’s new album Seen and Unseen was just released and is already receiving high praise. Slowcoustic.com described the album and John’s voice as; “almost majestic listening”. I could not agree more. Majestic seems to be the one word that could be used to describe his soulful lyrics filled with magnificent guitar, cello, and banjo.

In the weeks leading up to his newest album’s release John gifted his Facebook fans with a free download of “Horse and Home”; featured on his newest album. Featuring beautiful guitar solos, and absorbing personal lyrics. Exquisite prose such as “We undress in quiet rooms and open windows…and I’d be a damn fool to think I could possess her soul. But maybe her body could be my clothes.” John’s music is not only astonishing poetry, it is absolute peace to one’s ears.

The song “Snow on the Mountain Peaks” was inspired by a picture perfect view of snow capped mountains and describes such a perfect, God given beauty that only a poet like John could put into words and music. In the song “We Were Just Kids” he recalls being young and out of control. He sings of “smoking cigarettes and skinny dipping in the lake”; taking you back to his adolescence right alongside him. Every single one of the tracks on the new album tell a unique and incredibly poignant story that you just can’t turn away from.

John Goraj not only plays the guitar and sings a few songs for the listener; he takes them on a journey. A journey leading into the very depth of his heart where he reveals all his raw emotions chord by chord. He leaves the listeners feeling so deeply connected that we may even believe we were there for these moments he remembers in lyrics.

The first time I heard of Frightened Rabbit was just over a year ago when my best friend made me watch the music video for their song “Backwards Walk” on YouTube. After that moment, I knew I needed to hear more from this group. The lyrics were captivating and told a story that is relatable and heartfelt of a man trying to leave a bad relationship but just cannot find it in him to leave this girl.

Scott Hutchison who is the lead vocalist, rhythm guitarist, and lyricist of the group speaks to soul with his seductive lyrics that fit perfectly into the instrumentals created by guitarist and bassist Billy Kennedy, guitarist Andy Monaghan, and drummer Grant Hutchison on their second studio album The Midnight Organ Fight released in 2008. (Note: In 2009 after the release of The Midnight Organ Fight, Frightened Rabbit added keyboardist Gordon Skene who is currently still with the band.)

The Midnight Organ Fightis chalked full of delightful hits that really showcase Hutchison’s brilliantly unique lyrics. Take a listen to songs like “Old Old Fashioned” and “Modern Leper” for example which are two standouts on the album to me for their not only creative lyrics but for their folky rock sound. Hutchison’s heavy Scottish vocals ring through the ears and captivate the listener into a lulled, relaxed state. This album is one that can easily be listened all the way through multiple times without boring of it. I personally have listened to it on repeat for the last day because I am still able to explore the lyrics and instrumentals and find new and exciting aspects of the songs that I had not discovered in previous listens.

My only complaint with The Midnight Organ Fight is that it is stacked at the beginning of the album with lyrically and instrumentally strong songs like “Modern Leper”, “I Feel Better”, and “Old Old Fashioned” that the ending four songs on the album feel like a weak outro to a brilliant album. Now that is not to say that those last four songs are horrible and should not be included on the album. That is not what I am saying at all, I just feel that they may have been better placed elsewhere in the album.

I had the pleasure to see Frightened Rabbit in concert last year when they were touring with Death Cab for Cutie. One thing that I look for in a band is their ability to sound identical to their studio albums because I have noticed that many musical groups have fallen victim to over editing to the point that they sound completely horrid live. Luckily, that is not the case with Frightened Rabbit. They had a captivating show that sounded exactly as if I were sitting at home with my headphones on shamelessly rocking out to one of their albums. That being said, I would have to boldly say that I think Frightened Rabbit is a band that one should look out for in the future with their fourth studio album rumored to be released in August of this year.