Therefore, Raneri’s collection of songs on New Catherdals is vast and interesting as no one song sounds like another. So the genre can basically be referred to as a question mark. It’s comparable to New York State- it’s a little bit of everything. So it shouldn’t come as a shock that Raneri is a New Yorker.

New Cathedrals opens with the country-tinged bittersweet love song, “Sandra Partial.” It’s easily the record’s best track and it makes you wonder if he has other alternative-country tracks up his sleeve. Man, we need them.

The hodgepodge of “Charleston” was the only song specifically written for the EP. It’s layered with a pop finish over ska guitar parts that resurface in later tracks. But if you’re looking for “Bayside” tracks, only “The Ballad of Bill the Saint” comes close with its dark lyrics such as, “Oh Jesus Christ he says I think I’m doing fine but it may be time for bed/ And I think hey I hate this game it hasn’t always been this way where men are judged by their mistakes.” Reminiscent of Mike Ness’s solo work, it too is acoustic punk. While this track was released in an acoustic form a while back, I almost daresay that was better-except the simple rockabilly style drums in this finished version save it.

Similarly, the lyrics of “Lead, Follow, Fall” come from the Killing Time era but musically, it’s out there.  You certainly couldn’t have jammed this on to a Bayside record because its electric keyboard parts and bouncy guitar are kind of like Motion City Soundtrack. Yet it ends with the mentality of go grab your friends so you can sing, play air guitar to basic chords, and have it feel so right.

Nothing says “I don’t try” like hand drums because reggae songs always seem unfinished, but there are hand drums on “Please Don’t Leave”…and it works. Again, maybe it’s that “it’s Anthony Raneri duh” thing, but it’s like this reggae style won’t phase you even if pop indie, punk, ska, and country songs precede it.

There is a gang of guests that provide some musical addition to New Cathedrals. On the recording, Steve Choi (RX Bandits), Davey Warsop (Beat Union) and Jarrod Alexander (My Chemical Romance) help out on the drums and keys.

New Cathedrals isn’t bullshit d.i.y. either. Raneri has built up enough of a fan base that he doesn’t need a label (this EP is released on his own creation, Gumshoe Records) or any management. Nobody threw a million dollars behind this project- it’s just all soul. You get the feeling he does this because he loves it, and he does. Yeah, he doesn’t need to be told what to do.

If that’s you described above, please move on because you’re missing out. If you’re still with me, I’ll present Anthony Raneri’s new song “Sandra Partial.” This is the second song released from the Bayside frontman’s new five-song solo EP, New Cathedrals, which is available next week.

Above all, “Sandra Partial” is a straight-up country song complete with harmony hooks and singing style. This isn’t to say it’s a full-blown “go buy a cowboy hat country.” But it’s certainly more like alternative-country Lucero and this song almost mimics that punk-country sound of Social Distortion (totally a Mike Ness thing).

Classically, “Sandra Partial” is a bittersweet love song written in that unbreakable Bayside formula that makes all their songs successes: it’s simple but a lot of attention is paid to details. The simple drum beat and an acoustic guitar are the song’s backbone even throughout breaks and repeated choruses. That’s a good generic song that anyone can do, and many frontmen have done this for solo records. However Raneri goes the extra steps and that’s what makes this song absolutely polished. It’s ending with a just a few piano notes.

Sure, I’m of the thought that Raneri could sing a Rebecca Black song and it would be the most stupendous thing I ever heard. But there’s just something about his voice that is utterly unique and flows smoothly over multiple genres. Take the first release from New Cathedrals: “The Ballad of Bill the Saint.”  It’s an acoustic version of a punk song that is akin to Frank Turner’s early work. The fact that there are no boundaries in Raneri’s style isn’t just bold, but it proves he’s a damn good musician.

On his Web site he states the reasoning for doing New Cathedrals and that these just can’t be Bayside songs. He adds, “I have a very eclectic taste in music and I love exploring and writing in the various different styles that I enjoy listening to.” Well it surely is “free of genre classification.”

This song is collectively timeless and you’ll still be listening to it in ten years. With that being the case, in his Long Island accent he delicately sings, “Distance, distance/ Tell me that ya miss this/ I would wait here all the time/…and that’s alright.”

1. Fleet Foxes – Helplessness Blues

Their second studio album, Helplessness Blues has gained a ton of much-deserved praise. This year, it was nominated for the Grammy for Best Folk Album, and received one of our coveted MEBbies for Folk Album of the Year. Filled with beautiful tracks and insightful lyricism, Helplessness Blues is a favorite among seasoned folk fanatics, and proves that Fleet Foxes is a great band to get started with for any folk newbie.

2. Iron & Wine – Kiss Each Other Clean

Another folk mainstay, Iron & Wine has come close to perfection with the fourth studio album Kiss Each Other Clean. This album goes in multiple directions, fusing pop and blues with their signature folk sound. From the likability of “Walking Far from Home” to the beauty of “Godless Brother in Love” to the horns in “Big Burned Hand” and the album’s namesake coming from lyrics in the awesome seven-minute closer “Your Fake Name Is Good Enough for Me,” Kiss Each Other Clean is a must-have in any folk repertoire.

3. The Civil Wars – Barton Hollow

The first album from folk duo The Civil Wars, Barton Hollow has received great critical acclaim including being nominated this year for Grammys for both Best Folk Album and Best Country Duo/Group Performance. After becoming the #1 downloaded album on iTunes the week it was released, it charted at #2 on the Billboard Folk Albums chart and has been named one of the best albums of 2011 by NPR, Time, iTunes, Amazon, and- of course -Mind Equals Blown. The best song of the album is easily the title track, but “20 Years,” “Poison & Wine,” “C’est la mort” and more are incredible songs as well. The Civil Wars is a passionate folk duo with a unique sound that is surely here to stay.

4. The Head and the Heart - The Head and the Heart

Hailing from Seattle, the same town that produced folk greats Fleet Foxes (and they’re both signed to Sub Pop, too), The Head and the Heart has created a masterpiece in their self-titled debut album. Having charted at #4 on Billboard’s Folk chart, this band is deserving of every bit of praise they get. With a delightful mix of guitar, violin, and piano, The Head and the Heart is one of the most promising up-and-comers in folk music.

5. First Aid Kit - The Big Black & The Blue 

Granted, their first studio album came out in 2010, but they have released a gorgeous rendition of Buffy-Sainte Marie’s “Universal Soldier” on their 2011 7” and are about to release another full-length, The Lion’s Roar, in 2012. First Aid Kit is a unique folk duo consisting of young Swedish sisters Johanna and Klara Soderberg, who are 21 and 18 respectively. They employ incredible harmonies and strong yet light vocals to make a sound all their own, and will inevitably become a huge part of the folk scene in the years to come.

6. Blitzen Trapper – American Goldwing

Also signed to Sub Pop, Blitzen Trapper presents the more Americana side of folk music. American Goldwing errs to the traditional side of folk, evoking memories of Bob Dylan with some songs seemingly coming straight out of an old Western. This is the sixth studio album from the Portland group, and with it Blitzen Trapper continues to blur the lines between the subgenres of folk music. True folk is evident in tracks like “The Tailor,” but some funk also comes out in tracks like “Astronaut.” With a varied sound that is different from its Sub Pop counterparts, Blitzen Trapper is a great pick for any folk fan.

7. Larry and His Flask – All That We Know 

I really can’t say enough good things about Larry and His Flask. Having given them the number one spot for my EOTY List this year, and writing a 9/10 review for All That We Know, it is no surprise that I consider them to be one of the strongest bands in folk for 2011. LAHF was originally a grunge-punk band that recently transformed itself into a punk-infused bluegrass tour de force. With so much energy and passion, they create songs that are darker folk rock as well as sing-along folk reminiscent of The Avett Brothers, and then of course down-and-dirty bluegrass much like Old Crow Medicine Show or Trampled By Turtles. With a new album dropping in 2012, LAHF is bound to hit it big.

8. Josh Eagle & The Harvest City – A Good One is Hard to Find

For lovers of alternative country and Americana, may I present to you Josh Eagle. A Good One is Hard to Find is JEHC’s second album and is somehow even greater than their first. With guitar twang and drums, Josh Eagle presents track after track of emotion and growth. Songs like “Radio” and “Feathers in My Name” shine as some of the best tracks on the album, with every song being rooted in passion and exhibiting intelligently symbolic lyricism. Don’t be alarmed at my naming this album as “country” rather than “folk”; this is no album about tractors or farms. A Good One is Hard to Find is a great album for folk lovers who tend towards roots music.

9. Carolina Chocolate Drops – Carolina Chocolate Drops/Luminescent Orchestrii EP

Speaking of roots, the Carolina Chocolate Drops are some of the most passionate artists in traditional folk (and one of the only modern African-American string bands) today. 2010’s Genuine Negro Jig stood out with awesome tracks like “Cornbread and Butterbeans” and incredible covers of “Hit Em Up Style” and “Why Don’t You Do Right?,” so much so that this album won the Grammy last year for Best Traditional Folk Album. This year, they teamed up with Luminescent Orchestrii to produce an EP of four perfectly collaborated tracks. Off this, “Knockin” is easily my favorite, making me ever-excited for what the Chocolate Drops have in store for the future.

10. Canon Blue – Rumspringa

For those of you who are unaware, rumspringa is the traditional rite in Amish societies for teenagers to essentially get all the crazy partying out of their system before they choose to buckle down for the rest of their lives. Aptly titled, Canon Blue’s Rumspringa is a fascinating folk party. They have managed to increasingly stretch the boundaries, combining strings, horns, and synthesizers to create brilliantly folksy orchestral pop. With tracks like “Chicago” and “Honeysuckle (Milwaukee),” folk-infused pop has never been so fun.

Their previous releases, Volume One and Volume Two, were widely praised so hopes were high for their holiday release of A Very She & Him Christmas. Of course, Deschanel has become less worshiped in the indie/hipster world what with her over-the-top portrayal of a dorky and annoying Manic Pixie Dream Girl in “New Girl.” As such, it is of no surprise that the hipster music Bible (Pitchfork) tore apart A Very She & Him Christmas. I, on the other hand, will put aside my distaste for her overly dorky performance in her new show and review this album objectively- well, as objectively as I can as both a lover of Christmas music and of She & Him.

Album opener “The Christmas Waltz” brings Deschanel’s soft and fanciful vocals to the forefront, reminding us of a lounge songstress serenading us by the fireplace. Her voice truly shines on “Have Yourself A Merry Little Christmas,” with beautifully low vocals and sparse instrumentals. Similarly, “Blue Christmas” is stunning with Deschanel’s vintage vocals, giving some deep power to her often light voice.

“I’ll Be Home for Christmas” is yet another Deschanel showcase, depending greatly on her sultry vocals and perfectly accented by the string accompaniment. While this doesn’t bring anything new to the Christmas standard, it is certainly nothing to frown upon. Also not adding much of anything new to the classic, “Christmas Day” is at least one of the more upbeat tracks on the album.

We finally get a taste of M. Ward’s cool vocals on “Christmas Wish,” beautifully complemented by lovely harmonies with Deschanel. “Sleigh Ride” again utilizes both vocalists, though it’s not very enlightening. Similarly, “Rockin’ Around the Christmas Tree” doesn’t really rock, but it is a bit more upbeat. Speaking of not rocking, “Silver Bells” comes off as quite dreary.

Refreshingly, Ward and Deschanel do a role-reversal with “Baby, It’s Cold Outside,” giving a new spin on an old classic duet. “Little Saint Nick” is one of my favorites on the album, taking me back a few decades with the old school style. Album closer “The Christmas Song” is quite beautiful, but again doesn’t bring much of anything new to the song.

Overall, this album is not their best, but by no means their worst. She & Him usually shines as a light, summery duo and so the band’s Christmas offering is likely to be different than what we normally expect of them. This album certainly brings warm seasonal feelings in a vintage package, but is not for those searching for a cheery, upbeat Christmas album. As for me, I would feel perfectly happy playing this on my record player while peers and grandparents alike enjoy the holiday tunes.

While it is no secret that I am a lover of great folk music, there is one instrument that always makes me simultaneously want to dance and become an expert string-plucker: the banjo. Whether it’s in fast bluegrass, traditional Americana, or heartfelt folk, the twang of the banjo is consistently music to my ears. These three tracks highlight some of the awesome variety that a banjo can bring to the table.

1. “Ready Your Roommates” – Larry and His Flask

Click here to view the embedded video.

You can always count on the Flask boys to bring the energy with awesome punk-infused bluegrass. I’d liken them to Old Crow Medicine Show meeting Flogging Molly. “Ready Your Roommates” is off their first self-titled LP as a bluegrass band after playing for years as a grunge punk band. This high-energy track speaks of their desire to keep playing shows and partying for the rest of their lives: “There’s nothing else we’d rather do, like pumping gas or going back to school / So you can have your paper thin walls, and your late night business calls / We’ll be out keeping this world alive til we die.”

2. “Hit Em Up Style” – Carolina Chocolate Drops

Click here to view the embedded video.

In this cover of Blu Cantrell’s “Hit Em Up Style,” the Carolina Chocolate Drops utilize a banjo and fiddle paired with passionate vocals and beat boxing to bring a whole new dimension to this song. This is one of those beautifully rare moments when a remake of a song is infinitely better than the original. If this doesn’t make you want to sing along, I don’t know what will.

3. “Paranoia in B-Flat Major” – The Avett Brothers

Click here to view the embedded video.

The Avett Brothers are well known for their bluegrass-infused folk rock filled with beautifully relatable lyricism. “Paranoia in B-Flat Major” is off 2007’s Emotionalism and quickly reminds us why we love both the Avetts and the banjo. This is definitely a more approachable folk song, but with that same twangy goodness. While it’s easy for me to say that Emotionalism is my favorite of their albums, I might even go so far as to say this track, too, holds the first place medal in my heart.

Because Strumpel remains indifferent to his current genre, it is hard to label him as anything. However, his sound is similar to artists such as Sufjan Stevens.

Second track “Angel” is extremely unique and creates a fusion between the worlds of folk and alternative rock. Strumpel does so in a way that is beautifully unique and enticing. The intense pounding drums and banjo make this tune a memorable one. With the addition of the horns, this track shows the instrumental diversity Strumpel is capable of.

The melodic “Maybe” has somewhat of a Radiohead vibe to it. The track features melodic and harmonious vocals that sound similar to those of Thom Yorke. The vocals with the combination of the mellow key and overall acoustic feel make this track an album best, and provide a reminder that Strumpel does what he wants and doesn’t follow popular opinions or genre stereotypes.

Following “Maybe” is “Never Finished,” a simply beautiful track. Its beauty can be found in how unusual it is. Strumpel combines his signature folk feel with entrancing strings and fitting drum beat. The complete picture is painted with the addition of Strumpel’s unique vocals. The song characterizes who he is as an artist, and is the most noteworthy off of an album that makes it difficult to pick a favorite.

The bright and exciting “Home on Your Heart” brings a completely different tone and feel from the previous songs. It’s very folk-dominated, but with an electronic feel. This song alone shows Strumpel’s indifference to making just a folk record, with a track that sets the bar high for other artists in the genre. The calm “Sixty One” redefines the rules further. It begins with an ensemble of horns, which are later complemented by an electronic beat and Strumpel’s signature vocals. From there it builds into an array of electronic beats. The track is representative of the previously mentioned folk of Sufjan Stevens as well as the electronic vibe of Radiohead.

It is often hard to listen to a guy with an acoustic guitar carry on for an entire album, but Strumpel manages to sound different than all the other acoustic guitar playing ‘indie’ artists out there. He sets himself apart with an album that is not only an indie folk release, but one that includes complexity and ingenuity. Birds is just as inspiring as it is easy listening, while being very addictive.

Aaron Strumpel currently exists under the radar, but hopefully not for long.

Leslie Feist is a Canadian musician you may know from her noise-pop stint in Peaches, playing in Broken Social Scene, or opening for Radiohead at just 17 years old. But, without a doubt, her biggest achievement thus far was her 2007 album The Reminder, for which she was Grammy nominated for Best New Artist, Best Female Pop Vocal Performance, Best Short Form Music Video, and Best Pop Vocal Album. And, of course, “1234” became a viral sensation thanks to Apple’s iPod commercial. While The Reminder was some of her best work yet, Metals may give it a run for its money.

As stated, don’t expect the same cheery, poppy Feist as in the past; rather, expect the casual beauty of her vocals and notice the desperate fervor in her voice. This is exemplified in “Graveyard,” which starts off with light yet strong vocals, ending in an impassioned choir of pleading voices. Meanwhile, “The Circle Married the Line” has lighter, higher vocals with just as much anguished adoration as you could ask for. “How Come You Never Go There” is smokier and swankier, with Feist coming off like a 1920′s lounge songstress. Similarly, “A Commotion” is a sort of nonchalant seduction, keeping you on your toes with great horns and sharp male chorus lines. This is without a doubt one of the strongest tracks on Metals, having perfected the multiple layerings of vocals and instruments that cut off abruptly, leaving the listener wanting more.

Album opener “The Bad in Each Other” is yet another portrayal of her range, with a fun ending complete with worldly instrumentals. Also with a powerful ending, “The Undiscovered First” shines by utilizing multi-layered vocals, much as “Bittersweet Melodies” does. The folk influence is evident in the soft, fairytale lullabies of “Get It Wrong, Get It Right,” “Cicadas and Gulls,” “Comfort Me,” and “Anti-Pioneer.” If nothing else, Metals is effortlessly beautiful. Her gorgeous vocals atop the mixture of folk and soft rock create a sound that shows she is much more than just a poppy tune for a commercial.

For Kevin Devine’s sixth album, which is really titled Between the Concrete and Clouds, there is going to be review discrepancy. On one hand, it is guaranteed love by what is known as “the elitists” because one cannot ignore the sounds of Radiohead, Death Cab for Cutie, and Brand New that influence this album. Also, quite frankly, it’s hipster music. Not to slam Williamsburg-ites, but that’s who is going to dig this record’s dream-like state. And bless them for it, but I’ll stick to judging its merit.

All reviewers will probably agree it is a very cohesive record. Its song arrangement and placement were foolproof. Of course, the complaint with cohesive records is every song sounds the same due to the loss of haphazard style, proving less versatility. Between the Concrete and Clouds’ pace is mediocre (rather slow for a New Yorker, no?) until you get to “Awake In the Dirt,” four songs in. Actually this song returns to what makes Devine, Devine: chilly hell-yes lyrics. Singing about Vietnam, Marx, and Agent Orange- “You can’t get past/ The rocks stained red/ The nailbomb blast/ The doctor, dead/ Your prairie dream/ Your liberal heart/ Your patient mind.” Songs like “11-17” and “I Used to Be Someone,” though about different topics including questioning religion, also follow commendable lyrical structure.

Speaking of questioning religion, we often run into situations where a guy is doing a side project or is associated with other acts. Can anyone talk about Devine without mentioning Jesse Lacey of Brand New or Andy Hull of Manchester Orchestra? Every review will mention him with Lacey and Hull (and you can’t blame them), but that’s the problem: Devine cannot stand alone without being connected to the others. That’s only a colossal issue.

Also, every other song that wasn’t mentioned has simplistic lyrics. It may shock you to find out that that was completely intentional. In the label’s press release for the record, Devine said he felt he has “overstuffed” songs in the past. Regardless, it comes off as meaningless lines in repetitious four-minute pop songs.

It’s been a long time since 2002’s Circle Gets the Square, and an artist must go through evolution as seen in “First Hit” and “Wait Out the Wreck.” Gone are a lot of folk aspects as well as ace lyrics. The record isn’t a total loss though, just maybe not a great direction. It’s not like you can’t change the spice- it’s just nobody would recommend to bland it out. Respect should be given for Devine no doubt, but the last words I want to hear are pretentious people wearing fake glasses saying this record is so “post-modern.” Oy vey.

Those lyrics featured in “Nothing Left to Prove,” shows a different direction of this installment compared to the past. One can’t help but relate it to a faster version of Bruce Springsteen’s Nebraska (his last and only folk record- I said it, no regrets). This song is backed by “Nomad By Fate” which sounds more like 2007’s Feast and Famine and less like the bummer of 2009’s Gold Country. Accentuated are Ragan’s longtime partners in crime: Jon Gaunt on fiddle and Joe Ginsberg on bass. Nothing is better than a great singalong folk song, that is, until it gets some staggering violin parts. These return in “Come Around” (which also could have been a Springsteen b-side) and a folk version of a ballad, “Right as Rain.” Though it’s hard to think that a rock music scene can have an assortment of violin players, you also cannot deny their presence in the scene. Where it may have once been erroneous sentiment, now it’s a decent business that acquires a taste.

What also was once kindergarten style (whip out the recorders now), the harmonica, is also no longer. Sure it doesn’t take a ton of skill to play but for those who do put in effort; those reeds will get a serious treatment. And for people who love harmonica they aren’t fair-weathered about it. If you have ever seen a harmonica being used at a show, you will find fellow concert-goers wigging-out in excitement like a 99 cent deal at Taco Bell. As simple as “Seems We’re OK” is, that’s how you play harmonica. The imagery is complete as Clint Eastwood in the Wild West.

Simplicity can lead to boring from time to time and about three or four songs fall into this category on Covering Ground. The casual drift-off after the midway point is completely reversed by “Meet You in the Middle.” As a tale about being away from a lover too long, Ragan sings, “Tell me what you want, I’m all ears/ I’ll give you all I got- blood, sweat, and tears.” Does it get better than that? Yes. Brian Fallon (The Gaslight Anthem and The Horrible Crowes) provides guest backup vocals that should wrap everyone’s desires into a nice package.

Let’s get back to the tone of Covering Ground though. Recorded in less time than usual for Ragan combined extensive touring, it’s produced a tone that just says “whatever.” It’s not nasty at all, but one of more sorrow without going over the deep-end. “You Get What You Give” is a perfect example of this idea. Life is hitting rock bottom and climbing back up to the top and lyrics like, “While some called it heaven, I called it love at first sight,” have so much more weight.

Ragan has his roots in post-hardcore as the frontman of the sort-of-reunited Hot Water Music. But it’s kind of ridiculous to even say that and it has nothing to do with him focusing on folk now. After world tours, being the man on the Revival Tour, and three records later- Ragan is a serious independent artist today who quite literally has nothing left to prove.

Pay no attention to intro “Primal/Carnal” which insinuates that Wolfe has delivered an album similar to that of tour mates Liturgy; this could not be further from the truth. Ἀποκάλυψις really gets started on “Mer,” beginning with a simple guitar line that kicks into the overall feel of the song. The dense guitar play creates a dark atmosphere, while Wolfe’s use of reverb in her vocals gives off the feeling of being spoken to by a specter. It could all become quite atmospheric and almost groundless, but it’s the drums that lend that aura of humanity, the idea that the painting being portrayed in this song isn’t out of this world, but rather something much more human.

The next track “Tracks (Tall Bodies)” is a much slower affair; treading slowly through the fretboard, the guitars create a pummeling sound that recreates the feeling of having the music closing in on you. The lyrics to this song also show Wolfe’s more conscious side with lines like “It’s a machine we’re up against/Devoid of reason, devoid of sense.”

Following “Tracks (Tall Bodies)” is its polar opposite, “Demons,” a track that takes Wolfe out of the limelight once again and is much faster, with its doom metal-like guitar riff, its almost tribal-sounding drums, and even a keyboard line played during the chorus. The track once again creates a ghostly atmosphere as Wolfe can be heard in the background chanting “Demons, demons, demons, demons.”

Having already introduced listeners to the kind of music she plays, Wolfe goes on to elaborate on her sound. The tracks that make up the latter half of the album alternate from ambient-like, to mellow, to more aggressive. On the ambient side of things you have tracks like “The Wasteland” which rely on a more atmospheric sound rather than a straight melody. Much like “Tracks (Tall Bodies),” “Moses” is slow and contained, which even evokes the feeling of a funerary procession. The horror reaches its peaks in more aggressive tracks like “Movie Screen”, which may seem like a quiet affair at first, but closer inspection shows a song filled with foreign sounds, all mixed together to create a somewhat hostile experience, almost like a haunted house inhabited by violent ghosts.

Ἀποκάλυψις actually sounds like the apocalypse; that is, if the world ended on a serene note. It sounds like that one terrifying nightmare you can only recall bits and pieces of. An album like that can only be called one thing: an experience. Chelsea Wolfe seems to have a goal in mind, to make even the creepiest music calm and serene, and I cannot give her enough support.