#indie-folk

#indie-folk

Hannah Frances's exhilarating sixth album is an unruly ecosystem: nature sprawls, resurfaced family trauma unearths unrevealed roots, an unexpected rupture creates fertile ground for new understandings to blossom. The deep steadiness of the Vermont songwriter's previous album, last year's Keeper of the Shepherd, is replaced by ramshackle clusters of kindling-snap drums, nervy woodwind, jabbing brass, all swarming together like a cloud of bees. Her awkwardly beautiful chord changes evoke ornate wood carvings; her tempos are always wayward.

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The recent stomp clap discourse sparked a lot of conversations about how the divisive 2010s subgenre grew out of 2000s indie-folk, and the evolution (and "gentrification") of the latter is actually something that Stereogum managing editor Chris DeVille tackles in his upcoming book Such Great Heights: The Complete Cultural History of the Indie Rock Explosion, which comes out this Tuesday (8/26) via St. Martin's Press.