Plenty of artists in various scenes have sounds that one would imagine go quite well together. Like if Radiohead and Bjork did a collaboration or the Talking Heads and LCD Soundsystem. Possibly indie darlings Courtney Barnett and Kurt Vile?

If the last one interested you, well you are in luck, as the two did just that and that’s how we got the album “Lotta Sea Lice.” It is a pleasant and warm collection of nine songs and a blend of Kurt Vile’s guitar tones and Courtney Barnett’s classic observational and literate lyrics making a lazy and warm sound similar to getting high by a river while talking about the world with a friend.

Both Kurt Vile and Courtney Barnett have risen through the indie rock music scene, making strong names for themselves as respected, unique and enjoyable artists. For them to decide to make an album together is big news to much of the indie world. And “Lotta Sea Lice” is the delivery.

The first track on the album, “Over Everything”, is the prime opener and welcoming beginning. The track is filled with the country twang of guitar tones and breezy rhythm guitar strums that layer and create a pleasant and calming texture. When one thinks collaboration on tracks, you wonder how they will vocally trade off of each other. That is shown in this track, as they take turns on lines in the verses wonderfully playing off each other. Their insights come out like caring friends relating to each other like the lines,

Vile sings: When I was young I liked to hear music blarin’
And I wasn’t carin’ to neuter my jams with earplugs
Barnett sings: When I’m strugglin’ with my songs I do the same thing too
And then I crunch em up in headphones, cause why wouldn’t you?
You could say I hear you on several levels at high decibels
Over everything

These lines describe how the two used to listen to music loud and without mind to hearing damage. A prime example of their dialogue over less than important subjects but something most people who listen to music can understand. This track is a glowing example of two music friends that are quite alright with just chillin’.

The next track, “Let It Go”, further demonstrates their carefree attitudes and even the title demonstrates that as they tell each other to “You’ve gotta let it go/ Before it takes you over.” What this track also features is a tumbling drum pattern that, combined with the loose guitar strums, adds to the laidback feel that not too much matters and you really should let things go. A track that continues to show their friendship.

Track 5, “Continental Breakfast” may be the most heartwarming example of that. The instruments on this track feature a shuffling drum beat and an aimless guitar that bends and waves around below their vocals. As for the lyrics some of the highlight lines are:Barnett sings,

I cherish my intercontinental friendships
We talk it over continental breakfast
Vile sings: I cherish my intercontinental friendships
Not much very big on enemies

This track further demonstrates the innocent and relaxed nature of both of these vocalists in a charming way. This track falls into the category of one of the highlights of the album.

To be honest if both Vile and Barnett had simply released solo albums this year surely they would have been quite enjoyable but to see a collaboration come out of the work is a real treat.

Some of the highlights like “Blue Cheese” and “Peeping Tom” showcase some real songwriting gems of this year. Sure the album drags at points with tracks like “Fear Is Like a Forest” or “Outta the Woodwork” but those tracks don’t really bog the album down too much and the wealth of fun moments of the album in the end outweigh. In summary, sit back, relax, make some tea, look outside, all with “Lotta Sea Lice.”

Emerging from Nova Scotia, indie artist Mo Kenney released her third full-length LP this past September titled “The Details.” Sounding like an edgier Courtney Barnett, Kenney tells relatable stories in her songs, often relating to pain or frustration in a relationship. Her style seems to come together as a culmination of today’s likable indie rock along with a punk vibe, further combining with heart-on-the-sleeve type lyrics that reveal Kenney’s personal problems.

The first track on the album, “Cat’s Not a Cake,” comes in at 35 seconds, and sets the tone for the rest of the album. The track is quite humorous, with Kenney wondering if she and her significant other are to break up, they will have to split the cat in half. “I know you’ll try/ to take the bigger side/ but a cat’s not a cake,” these lyrics are an example of her dark humor that follows in the rest of the album.

The first track leaves one with initially high expectations, and these expectations are more or less met in the rest of the tracks. For instance, track two “On the Roof” picks up the pace, showing off the rockier, more electric sound of the album with the soaring guitar solo. While the energy is nice, one fault in the track is its length, coming in at just over two and a half minutes. Short songs seem to be a notable characteristic of the tracks on this album. Short songs are not inherently less likeable, but they could use more development. Some of them are uninteresting, and perhaps they could be improved had they been longer.

A particular track that stands out as a highlight is track 10, “I Can’t Wait.” The emotional impact of the album is evident in this track particularly. The song is simple in concept, just Kenney singing above a steady guitar while another much noisier guitar adds occasional distant flourishes in the background. An energy builds in this track that is almost more satisfying in its consistency. The song doesn’t reach a climax in which drums enter or the instrumentation all builds up immensely. Instead the energy builds with the pleasant melody of Kenney’s vocals, which sound apathetic.

Overall, this album appears slightly better on paper; an apathetic singer and songwriter with punkish instrumentation along with literate lyrics that have a knack for storytelling. But in the end, this LP falls a little short of the mark. Too many of the songs lack the excitement or enjoyable mood that keep you listening. This is Mo Kenney’s third release, and hopefully her skills will continue to refine, as there are several good aspects of her musicality and songwriting that are definitely worth capitalizing on. Certain parts and pieces of this album were often better than the album as a whole. While this album is not by any means a disappointment, as a listener, I am much more excited by the idea of her next release which will hopefully utilize more of the positive aspects of the artist.

Noteworthy Tracks: “I Can’t Wait,” “Unglued,” “Lights Out”