Thursday 31 Jul

Sobering sounds

Copperheads with Depth & Current, Dudes of America and Oblivious

10 p.m. Saturday


113 N. Crawford Ave., Norman



07/30/2014 | Comments 0

Pony expression

Wild Ponies

8 p.m. Sunday

The Blue Door

2805 N. McKinley Ave.



07/30/2014 | Comments 0

Music Made Me: Josh Hogsett

Few, if any, Oklahoma bands have seen a rise as meteoric as Tallows over the past year, yet its seemingly overnight ascension didn’t happen by chance. The Oklahoma City four-piece is well-versed in the ways of modern pop songwriting, drawing from both glitchy electronica and cathartic indie rock in equal measure. Last year, the band pulled off a rare musical feat with its debut album, Memory Marrow, which was steeped heavily in the breadth of recent history yet managed to sound like nothing else before it.
07/30/2014 | Comments 0

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Downtown Tulsa 

07/22/2014 | Comments 0
Home · Articles · Reviews · Indie · Laura Stevenson and the Cans...

Laura Stevenson and the Cans — Sit Resist

Disparate genres tie into an incredibly coherent sound

Stephen Carradini May 18th, 2011

I lauded Emily Arin’s latest earlier this year because of its ability to seamlessly fuse disparate genres into one thing.


Laura Stevenson and the Cans’ “Sit Resist” does that, too, but on steroids. Genres that are beautifully integrated here include (but are not limited to) folk, pop, rock, indie rock, indie pop, ’50s girl pop, Motown, gospel and waltz. And somehow, she ties it all together into an incredibly coherent album. Wow.

The unifying thread here is Stevenson’s passionate voice and the sustained mood. There’s an overarching feel of pleasant nostalgia here, whether created by invoking familiar genres that have faded in the public ear (the Motown of “Barnacles,” the Phil Spector girl-pop of “Master of Art,” the static-laden gospel of “Red Clay Roots”) or sounding wistful (“The Wait,” “The Weight” — yes, different tunes). What’s genius about the tactic is that it leaves pretty much every sound and tempo open to her, whether the elegant pace of “Finish Piece” or hand-clap/foot-stomp barnstormer that is “Montauk Monster.”

 “Master of Art,” “The Healthy One” and “Halloween Pts 1&2” are all standout tracks for completely different reasons. The first shows off her impressive pipes. The second unveils lyrical depth and pop sensibility, while the final is an emotive indie-rock tune enviable by any chanteuse working today. That she can pull off so many things with excellence is just making me jealous.

Stevenson has freed herself from the constraints of genre, but still organized her thoughts into a cohesive unit. The disc never stops moving, and that’s a boon for the listener (“Sit Resist,” indeed). She has unleashed some of my favorite songs of the year, and definitely my favorite pop album of the year thus far. Download it here for free for a limited time. —Stephen Carradini

  • Currently 3.5/5 Stars.
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