“A Country’s King Of Dreams”
“December 28th”
“Easy Water”

Brooklyn-based quintet Caveman deliver an ambitious, sprawling take on indie pop by drawing influences from experimental rock, post-rock, wistful indie rock, and African music traditions — balancing varied elements like four-part harmonies, tribal drums, trickling keyboards, and hazy guitars with inspired results.

Reminds me of: Grizzly Bear, Real Estate, Wild Nothing, The Shins, Lord Huron

The Way to Be Cool

“While mainstream society of the 2000s (decade) had been busying itself with reality television, dance music, and locating the whereabouts of Britney Spears’s underpants, an uprising was quietly and conscientiously taking place behind the scenes. Long-forgotten styles of clothing, beer, cigarettes and music were becoming popular again. Retro was cool, the environment was precious and old was the new ‘new’. Kids wanted to wear Sylvia Plath’s cardigans and Buddy Holly’s glasses — they reveled in the irony of making something so nerdy so cool. They wanted to live sustainably and eat organic gluten-free grains. Above all, they wanted to be recognized for being different — to diverge from the mainstream and carve a cultural niche all for themselves. For this new generation, style wasn’t something you could buy in a department store, it became something you found in a thrift shop, or, ideally, made yourself. The way to be cool wasn’t to look like a television star; it was to look like as though you’d never seen television.”
— Matt Granfield, HipsterMattic

Good Field


Good Field sounds timeless, as though they could have existed during the wonder years. They’re organic… analog – not perfect instrumentalists like the digital crowd. Listening to their self-titled debut album, you’ll hear the acoustic curlicue whimsy of Grizzly Bear and the foot stomping field funk of The Band. Your ears are sure to reap a good yield.

The First Third | Best Albums of the ’10s

Now that we’re a third of the way through the decade, I thought it might be a good time to reflect on the recent past and look back at the ten best albums of the ’10s so far.

AM & Shawn Lee, Celestial Electric (2011)

A cornucopia of laid-back, psychedelic-tinged, ’60s and ’70s-inspired hippie funk, soft pop, and electro soul.

Ariel Pink’s Haunted Graffiti, Before Today (2010)

An eclectic lo-fi mix tape, sounds like a cassette that’s been dubbed over a few times and left in a glove box for a couple of years.

Bonobo, Black Sands (2010)

Laid-back London groove maestro Simon Green (alias Bonobo) lays down some masterfully mellow monkey magic.

Fleet Foxes, Helplessness Blues (2011)

A baroque folk-pop sound that hints at a number of influences, but is too unique, too esoteric, too damn weird to warrant any direct links between the Seattle boys and their predecessors.

Foxygen, We Are the 21st Century Ambassadors of Peace & Magic (2013)

Picking apart the blatant, intentional references to different classic songs that cycle verse-to-verse throughout the album is a fun game for record collector types; no oldies are safe.

Grizzly Bear, Shields (2012)

Powerful drums and acoustic guitars that sound more like they’re being scrubbed than strummed tumble into bubbling synths, which then give way to rhythms that conjure leaves twirling in the breeze.

Other Lives, Tamer Animals (2011)

Like the indie rock equivalent of Sergio Leone’s spaghetti Western films, it mixes dusty, dramatic songwriting with orchestral arrangements.

Real Estate, Days (2011)

Jangly guitars, sighing melodies, and complex harmonies… like going to the beach alone and watching the sad sun glisten on the water.

Washed Out, Within and Without (2011)

This is make out music with a lush, snowy warmth. Sounds great on headphones and even better coming out of speakers in the background of a late-night rendezvous.

Wild Nothing, Nocturne (2012)

’80s new wave pop for the ’10s, its richly textured layers bathe the listener in an autumnal haze.