Ah, the glorious Seattle winter – where the city that is known for it’s near continuous rain fall gets it’s most precipitation. Truth be told, it was fairly dry this winter – about half the days it didn’t even drizzle. Perhaps my effervescent and magnetic personality brought over some much sought after sun. That’s a shame, I came over here to dance among the falling rain drops. In any event my little golden mariposa lilies, it did rain enough to affect my listening habits. Which means there’s gonna be quite a few more folk music entries on this list, as If I didn’t listen to enough folk already.

Banjo Players of Aleph One – Gwenifer Raymond

If you missed my latest ARDENTLY smoke signal, then you would be unfamiliar with this song. It short, it’s a wonderfully atmospheric and enchanting melancholic folk piece. Through its many phases, it features fantastic banjo picking that really sets the mood along with a partial interpolation of one my favorite folk songs, “You’ll Never Leave Harlan Alive”, on Raymond’s acoustic guitar. Despite it being on the shorter side for the album, it’s the track that garners most of my attention with its shimmering, pretty compositions and somber, droning atmosphere.

Which Side Are You On? – Pete Seeger

I have so much reverence for what Seeger did for the Folk revival movement. His work in maintaining the cultural significance of American folk music is truly inspiring to me as a fan of traditional music. It’s due to his efforts that we have the first known recording of this spectacular song, written in 1931, and what a first recording it is! I simply adore how bare the instrumental is, with the claw hammer banjo picking, the occasional acoustic guitar acting as underlying bass and the harmonized vocals on the chorus. It’s all so refreshing simple and raw, it really feels reminiscent of a lot classic Appalachian folk, which I’m so fond of.

Setting Sun – George Fitzgerald

I have a certain fondness for electronic music that is both mellow and uplifting. I love the looping vocal samples in the background, the bright, shimmering bleeps, and the warm, comforting synth chord progression. All of the elements together make for such a glorious piece, not to mention the string section that’s added right before the beat drops again in the second half. The sound is so intoxicating that it gives me goosebumps every time I hear it. The atmosphere envelops me so much that I often lose track of just how effortlessly groovy the track is.

Freight Yard – The Garden

I think between this, “Bow Down” by Geese, and “Always Like This” by Bombay Bicycle, we can really tell that I just have a thing for indie rock songs with prominent bass. Most of “Freight Yard” is just drums, vocals, and bass with one of the filthiest tones I’ve heard in a while. Dispersed in between these bass-dominated parts are bouts of screeching, distorted feedback and some twinkling guitar passages. Really, “Freight Yard” would be a wild experimental mess if it weren’t for the sung melody. Not only is it widely catchy, but it somehow makes everything come together so harmoniously – suddenly it all fits and becomes an amazing song with a dingy sound.

Atlantic City – Bruce Springsteen

If you little Western Hemlocks can recall back to my first Shae-List, I discussed the idea of “forever songs” with the track “Age of Consent” by New Order. Well, I think we have another one. “Atlantic City” feels so attached to me; in every moment of my adult life this song has been a part of it. Like the rest of Nebraska, it’s raw and unpolished, yet it remains so emotionally evocative. Everything about the song is just perfect to me. I love the simple acoustic guitar chord progression, the harmonica laced throughout the track, even Springsteen’s howling vocals in the background. Every element comes together to create a vivid and captivating song from start to finish.

Down to The River to Pray – Alison Krauss

O Brother, Where Art Thou is a great movie, with a great blues, traditional folk, gospel, and country soundtrack. At one point in time, I had the other Alison Krauss cover, “I’ll Fly Away”, on constant repeat, but now “Down To The River To Pray” has usurped that honor. For a vocal-only cover of a classic gospel song your singing needs to be on point, thankfully Krauss brought her A-Game with such a great performance. Her voice sounds so soft and caring, like a non-biblically accurate angel, which is perfect for the song’s message of universal love for God. However, it’s not just Krauss’ voice that keeps me coming back, it’s the vocal choir accompanying her that I’m so drawn to. Together, their vocals all harmonize into one beautifully angelic voice that never ceases to fill me with such a warm and fuzzy feeling of comfort even in my darkest days.

Set You Free – chase usa, Adventurer

Ever since it’s become this big internet phenomenon, I’ve been a little burnt out on Midwest Emo. However, “SET YOU FREE” does feel like a bit of a match to the flame for the style, at least for me. The fuzzy tone of the guitar pairs really well with the melancholic riff, and the little acoustic bridge is a very pretty diversion from the rest of the track. All of that is great, but what really sells this song for me is chase’s raspy vocals on both the bridge and rap verse, which is a combination that works better than it has any right to.

Surreal – Glokk40Spaz

Glokk40Spaz is certainly not the most creative or verbose rapper I’ve covered for a Shae-List, but “Surreal” still mesmerizes me in an odd way. The instrumental feels like an odd mix of some West Coast Hip-Hop influence and a 2000s R&B track filtered through modern plug synths for an oddly luxurious sound that I’m struggling to think of a better way to describe. Spaz’s flow on this is just hard hitting and percussive, and it melds so well with his boyish vocal delivery. It’s a track I find myself irresistibly bobbing my head to because it just feels so smooth.

Turpin Hero – Ewan MacColl

Like Pete Seeger earlier on the list, Ewan MacColl was indispensable in maintaining traditional folk music and creating the groundwork necessary for the 60’s folk revival. Even if not for his seminal work, “Turpin Hero” would still be a great song. With a simple, plucky banjo and MacColl’s intimate yet strikingly bare vocals, he fastens together a wonderful folk tune about a romanticized English Highwayman from the early 1700’s. What really makes the song for me is the gorgeous and melancholic chorus MacColl sings in harmony with his wife, Peggy Seeger, who is also responsible for the great banjo playing on the track. Despite its simplicity, this song has just about everything I could ever ask for in folk tune: a banjo, a catchy chorus, and a great, legendary tale from history. What’s not to love?

Son of a Highway Daughter – Ruston Kelly

I enjoy quite a lot of contemporary country music, though I actively dislike most of the stuff that gets country radio’s attention, but otherwise I think the genre gets a lot of undue hate. Regardless, “Son of a Highway Daughter” shirks quite a bit of the style’s conventions, with its two-minute intro that solely consists of Kelly singing with some vocal effects. Eventually, the song bursts into this triumphant ballad with upbeat pianos, guitar strumming, pedal steel guitar wailing, and Kelly’s passionate belting. While both parts feel a little musically disconnected from one another, their inclusion is necessary. Without the intro, the instrumental coming in just wouldn’t have the same emotional impact. I’ve replayed this song countless times just for that slow build; when that acoustic strumming appears, it becomes an absolutely magical moment in music.

the arrows that murder sllleep – The Olllam

I’m honestly not sure how to even categorize this one. It’s very distinct in that it heavily relies on the Irish Uilleann bagpipes, which are most commonly used in Irish folk music, yet I would hesitate to describe it as such. Between the electric organ, groovy bass line, and guitar licks I would say it sounds more like funk than anything else, but what kind of funk has Irish bagpipes as the star of the show? I actually think it makes for an interesting juxtaposition. It certainty doesn’t hurt that the bagpipes give a tremendously passionate performance. Rather than the influences melding together seamlessly, they clash in such an odd way, but that’s what makes the song special.

Get Ready – Concord Dawn, Scribe

I have a pet theory that around half of all electronic dance music would be at least marginally better with a rap verse. I think Concord Dawn stole my mind reading machine because “Get Ready” has not one, but four whole rap verses! As if I wasn’t sold already, the booming instrumental is absolutely enthralling. I just love the forceful descending synth and piano melody, the throbbing synth bass line as well as the speedy drum ‘n bass breaks throughout the instrumental. I just can’t get enough of how frenetic this song, It just feels speedy yet so full of rambunctious energy. It’s the perfect track to have on repeat when you just have the sudden urge to have a dance party all by yourself.

Ain’t It Fun – Paramore

“Ain’t It Fun” serves as a stark reminder that I’m not the only one who gets overwhelmed with major changes in life. There’s something revitalizing about hearing my feelings not only being echoed by one of the greatest front women in modern rock, but also hearing her be a bit critical of herself in the process. The song feels like taking in the reality of the situation while also trying to find a bit of humor in it. Even if it weren’t for the relatable lyrical themes, this song would still be fantastic. Of course, Hayley Williams provides an excellent performance and the song is really catchy. What really sells the track for me, however, is the gospel choir on the bridge – it’s a such a beautifully bizarre move that totally works, even if it feels like it shouldn’t.

Jericho – Sister Rosetta Tharpe

Originally an African-American spiritual, “Jericho” has since been a staple for all sorts of gospel and folk renditions. Tharpe’s cover is probably my favorite, besides the verison by Odetta, a legendary blues and gospel singer. With its invigorating stabs of church organ, bluesy guitar embellishments, and Tharpe’s lively and spirited vocals, the song is an exciting blues barn burner.

Marcshlua Uí Néill (O’Neill’s Cavalry March) – Seán Ó Riada

Speaking of Uilleann bagpipes, here it is in some actual Irish folk music. We aren’t treated to the bagpipes immediately, instead the piece builds up to it with ritualistic rhythms made with the the traditional Irish bodhrán drum, mixed in with these amazing flutes. The song keeps adding layers of additional instruments, until about halfway through, where we finally start hearing the bagpipes. The song’s progression from a simple tune to such an ornate and grande piece is one that I simply adore.

Building – Embrace

I’m generally not much of an emo fan, I’m sorry to say, but “Building” does everything I need from an old school emo song. I love its distorted and angular guitar riff that feels very post-punk inspired and I love the dejected-turned-shouted vocals by DC Hardcore legend, Ian MacKaye. The lyrics are also a highlight for me; I relate so much to constantly feeling like you’ve failed at everything in life and the struggle of communicating your feelings. With the song being so short and seemingly simple, it makes for one of the most catchy and instantly gratifying songs about self-loathing.

wash my sins away – berlioz

The “New London Jazz” scene has one of my favorite musical developments within the last decade or so. As a Jazz fan, it’s exciting to hear what the new bloods have done in terms of taking the genre into previously uncharted waters, but never in my life did I expect a crossover into House music. Bouncy Jazz piano chords and a repeating tenor saxophone motif becomes infused with these dance music elements, a super funky bass line, a shuffling house beat, and this looping vocal track that practically whispers the song title. It’s such a harmonious combination that constructs this soft-yet-groovy sound. Thanks so much to Shaelan, Ms. ARDENTLY herself, for turning me onto this artist.

Huddle Formation – The Go! Team

This whole album is great, but on “Huddle Formation” The Go! Team really crafts a fantastic indie pop and alternative dance track. The song feels so upbeat and carefree, even while maintaining a deliciously raw and lo-fi sound that I wish more indie acts would utilize. Elements like the cheer choir vocals, the rubbery bass, the tremolo-picked guitar melody, and electrifying percussion help build this bright and optimistic quality. Underpinning this hopeful sound are lyrics of political, anarchic defiance and talks of community organization and the revolution, which, of course, appeals very much to me as a dirty, no-good leftist.

Life’s Gone Down Low – The Lijadu Sisters

Even during the rain I managed to sneak in a groovy afro-funk song. Fittingly, it’s probably the most serious and least upbeat an afro-funk track can be. The organ chords are played with a monumental gravitas and each bass note feels so punchy. I just love how vigorous this song is; it feels so bold and explosive for a funk track. The harmonized vocals between the two sisters are also great and really help to sell the song’s dramatic nature, which I find so alluring. In a way, it reminds me of a lot of Fela Kuti’s material, utterly powerful, wonderfully expressive and just as funky to boot.

Sinkhole – Drive-By Truckers

This song feels like Country music’s answer to Sludge Metal. The distortion feels so filthy, and is paired excellently with a main riff that wouldn’t feel too out of place for a 90’s Stoner Rock record. I’m so entranced by this song’s wild, almost punk, energy. I love the guitar tone, the bluesy inflections, the macabre subject matter, and the strained (sometimes even howled) vocals from Alt-Country superstar, Jason Isbell. The story the track tells in its lyrics and the twist it leads to were such a gut punch the first time I heard it. While it doesn’t hit quite the same on subsequent listens, the rowdy sound is enough to keep me just as invigorated.

This is has been an interesting winter for me, one without much snow or family events, but still just as busy and hectic. Nonetheless, I was quite happy with my Shae-List this time around. Looking back on it now, there was a lot more diversity than I initially thought there would be. I hope all the wonderful ARDENTLY readers had an amazing holiday season, and I look forward to the next Shae-List, no matter how eclectic it may or may not be.