Andy Fenstermaker is a music lover, writer, marketing professional, and entrepreneur who has dedicated his life to sharing his passion for music with others. He is the founder of FensePost, a renowned music blog that has been sharing the latest and greatest in indie music since 2006. Andy has always been fascinated by the power of music to connect people, and he started FensePost with the aim of sharing his love of music with others. Andy developed a passion for music at a young age. Born and raised in the Pacific Northwest, Andy grew up surrounded by a vibrant music scene that left an indelible mark on him. He attended Washington State University, where he studied Communication and Business. He holds a BA in Communication and a Masters in Business Administration. After graduating, Andy started writing about music and created FensePost as the outlet. The blog has a strong focus on indie music, but also covers a range of other genres including folk, indie pop, psychedelic, garage rock, and experimental. Andy and the blog relocated to the Dallas/Fort Worth Metroplex in 2020.
Looking at the cover art for Sound Farm by Happy Family, one is given the impression it was inspired, at least in part, by Panda Bear’s Person Pitch. Sure enough, opening track “Cups” has certain similarities to Noah Lennox’s solo project, from the experimental electro loops to an underlying Beach Boys style harmony. Read More »Happy Family: Sound Farm EP [Album Review]
Pooma, from Finland’s Helsinki, may have formed in 2000, but they are only now breaking beyond the Finnish borders to give the world a taste of their melancholy Scandinavian shoegaze. Persuader begins with “If May Starts Tomorrow”, introducing us to the atmospheric drones that give Pooma the shoegaze label. This is pretty much what one can expect from Persuader; loud, intense shoegaze drone. Read More »Pooma: Persuader [Album Review]
Typical show previews on FensePost list upcoming shows throughout the Pacific Northwest, often centered around Seattle. But this one is a bit different, as France’s Cocoon is playing two shows in the states, starting this week. Read More »Cocoon [Show Preview]
Alan Singley And The Pants Machine‘s “Le Rain” is a classic case of infectious indie pop. The song clashes to very unique sounds to create a third sound entirely its own. On one end, you have vocal hooks reminiscent of, say, Ben Kweller. Interesting, yes. But surround that sound with the folksy indie pop of artists like Ezra Furman. Marry those two signature sounds and the resulting lovechild could very easily be “Le Rain”. Read More »Alan Singley And The Pants Machine: Le Rain [Track Review]
It’s hard to imagine a band like HEALTH being able to progress in any shape or form. After all, their self-titled debut was without a doubt on the cutting edge of avant garde noise. But listening to “We Are Water”, one gets the distinct impression the band has evolved. Their noise is more refined, channeled more precisely. With it, HEALTH has become borderline accessible to a wider audience; and that’s a good thing. Read More »HEALTH: We Are Water [Track Review]
The folks in Kickball are masters at timing. Their songs include light elements of math rock, but it’s fairly subtle—not as prominent as, say, Battles, but still a viable part of the music found primarily in the slightly minimal but quite pointed guitar riffs and hefty, wild percussion. Even the vocals contain obscure timing on occasion. Just listen to “Fight†and you’ll get my drift. Read More »Kickball [Feature Band]
I can recall the precise moment I discovered Leonard Cohen. It was the early days of the turn of the century and I was going through a phase of listening to morose, emotive music. It was those late adolescent days you have yet to discover who you are; the teenage years were slipping away. It was here I first began listening to artists like Bright Eyes and Hayden. It was the song “Famous Blue Raincoat†performed by the latter that did it for me. Read More »Leonard Cohen: I’m Your Man [Film]
Directly upon the heels of two stellar releases, Every Scene Needs A Center by Tullycraft and Daughters And Suns by The Owls, Magic Marker Records treats us to a bit of a surprise. Where the label’s typical release is inundated with pop and twee, Fred Thomas’ Flood can almost be considered experimental folk, or even freak folk. Learning Thomas’ history in pop will help the listener understand this release and its home on Magic Marker. Read More »Fred Thomas: Flood [Album Review]
With “Keys”, Air Waves proves that you don’t need to be technical geniuses to write a great song. “Keys” is quite simplistic, natural pop reminiscent of California beaches and sunny summer afternoons. Oddly enough, this band hails from New York. Basic guitar melodies, unembellished vocals; it’s all pure and easy. But it’s also damn catchy. Tropical to a point, the song is adorned with traces of acoustic power pop. “Keys” is unabashed pop greatness. In a way, it reminds me a bit of early stuff by Somebody Still Loves You Boris Yeltsin. Read More »Air Waves: Keys [Track Review]
“Back In Town” is an undeniably upbeat pop song, channeling a 60s-era sound. The song will be released on Luck, Wiretree‘s sophomore release. Entirely Wiretree’s own style pop, “Back In Town” has some subtle influences ranging wide and far from Velvet Underground to Wilco and beyond. Powerful guitar strums and an excellent xzylophone ring back passionate, emotive vocals; however melancholy, it’s hard not to get swept up in the catchy notes that keep this song powering forward. Read More »Wiretree: Back In Town [Track Review]
