Our list of the best indie folk (indiefolk) albums of all time is back with a fresh update. See if your favorite made the cut: SundayFunday sundayvibes
The arc of Damien Jurado’s output has always been easy to trace—less so to predict—but in the past 20 years and almost as many albums, the Pacific Northwestern troubadour with the voice of bronze has never found such heartbreaking empiricism as on the bittersweetNebraska tells of typical folk fodder: young love and dreams of leaving home leavened by ghost stories of domestic abuse and addiction and the tragedy of wherever it is Jurado’s characters feel like they have to live out their assigned existences.
In turn, the songs ofswoon between quiet menace and warm nostalgia , sometimes within the same song, as in “Omaha” when the chorus breaks from the stanza’s gloom with a sudden declaration of hope: “This country will know us by name.” “Abilene” follows, as does one of Jurado’s simplest, untouchable melodies, cradling a short story of potentially doomed courtship. It’s a testament to the promise of Jurado’s still young career that he was so early so able to do so much with so little—to sing about so many lives with so clear a voice.Natalie Mering’s work under the name Weyes Blood feels less like a catalog of music and more like a journey. And each time she releases a full-length album, her destination comes a little more into focus. That’s especially true on, which finds Mering edging her peculiar psych-folk closer than ever to the sound of traditional pop music. For someone with a documented predilection for idiosyncrasy and experimentation, she sounds completely at ease in these songs, and ready for bigger things ahead. Folks who know her debut, 2011’s, might be surprised to hear Weyes Blood in 2019, but they shouldn’t be shocked. Even on that lo-fi bundle of echo and noise, you could hear Mering’s gift for haunting melody and the folk form hovering slightly below the surface.doesn’t feel blissfully adrift. Instead, it feels like Mering knows exactly where she’s going. You can hear it in the robust string sections of album opener “A Lot’s Gonna Change” and the sturdy backbone-beat of “Andromeda” and the sentiments of “Wild Time,” a patient ambler with a ’70s soft-rock vibe and a plainspoken bridge: “Everyone’s broken now,” Mering sings, “And no one knows just how we could have all gotten so far from truth.” —
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