Where To Find The Most Popular Vetiver Band Songs

If you’re seeking for songs to add to your playlists, you’ll want to consider some of the most popular songs of the Vetiver band. This American folk band had their debut album in 2004. Their second album, To Find Me Gone, was released two years later. Vetiver belongs to the earliest wave of the freak folk movement in San Francisco.

In 2008, the indie folk band headed by musician and songwriter Andy Cabic released Things of the Past, a collection of their most popular cover songs. One year later, the Vetiver band released the sub pop album Tight Knit, followed by another one, The Errant Charm, released in 2011. Their latest two albums, Complete Strangers and Up on High, were released in 2015 and 2019. Even though Andy Cabic writes all the songs of the band, he never performs solo. According to the artist, Vetiver is an umbrella for his ideas.

You can find the most popular songs of Vetiver on YouTube. The official videos of Everyday and Wonder why are only two examples. YouTube is also home to some of the live performances of the band such as Stranger Still live on KCRW and the full live performance on KEXP at Pickathon.

The Vetiver band songs are also available on various music services such as Spotify, Deezer, YouTube Music, TuneIn, and Google Play Music. Picking your favorite songs of this band and adding them to your playlists is one of the easiest things to do.

If you’re a social media user, you may want to check out and follow the Facebook page of Vetiver. The artists share information on their latest albums, snippets of videos, full songs, and other cool stuff to keep their fans entertained. Also, this is the best way to stay tuned with the live performances and events of the band.

This article was written by one of the members of grease trap services in San Jose.

Vetiver Band

Vetiver

Vetiver is what I’ve been calling my songs and recordings since about 2003 or so. I live in San Francisco, have since 1998. My touring band and the musicians I’ve recorded with over the years are always changing, though many friends and players have stayed with me over albums and tours. The one constant has been Thom Monahan who has engineered and co-produced every Vetiver album. Thom lives in L.A., where most of Complete Strangers was recorded. 

The album came together slowly over demos at my home in San Francisco and quick trips to L.A., continuing on with Thom at his studio. It moved in fits and starts for a couple years. Once we had the basic arrangements we jumped in the studio with Bart Davenport, Gabe Noel and Josh Adams for a few days to put down rhythm tracks. That’s when the album really took shape. Thom & I fleshed everything out with a few more musicians in San Francisco & L.A. and eventually Complete Strangers arrived. 

The songs on Complete Strangers bear some resemblance to the album’s title. They share things in common but come from different places, different times. “Stranger Still” is an anthem for insomniacs, illuminating the hours when the world exceeds our grasp. “From Now On” rings out some emotional tinnitus, the moment a night runs away from you, when freedoms turn into responsibilities. The album builds around dualities, the way people pair at parties. “Current Carry” percolates with the confidence of love, while “Confiding” reveals how vulnerable we are chasing love. “Backwards Slowly” and “Edgar” are vignettes of transition, more ebb than flow. As with many of Vetiver’s better moments, sunshine is only a chord away from melancholy. An introspective lyric underlies an extroverted chorus. Subtlety tries to be outgoing, loneliness familiar, in an effort to connect the dots of life’s ellipsis. 

I’m still figuring the album out. It feels like someone I’ve just met yet known for a long time. 

– Andy Cabic

HowlinRain Band

Howlin’ Rain

Ethan Miller, while still with Comets on Fire, felt the urge to pursue a more melodic sound in his music and express the influence of growing up on the Lost Coast, so he formed Howlin’ Rain with his former high school band-mate Ian Gradek, and drummer John Moloney (who is now with the neo-folk ensemble Sunburned Hand of the Man).[6] After the 2006 release of Comets on Fire’s last album, he released Howlin’ Rain’s self-titled debut album on Birdman Records and began touring with Queens of the Stone Age.[7] 

Shortly after the release of their first album, Moloney left the band. after which Garett Goddard (The Cuts), Eli Eckert and Joel Robinow (both of Drunk Horse) were added. The band’s second album Magnificent Fiend was released in 2008.[6] The EP Wild Life followed later that year. 

The current incarnation of the group features Ethan Miller and Joel Robinow, along with a new rhythm section composed of Cyrus Comiskey (Drunk Horse, ex-Saviours) and Raj Ojha. The group now also features Isaiah Mitchell (Earthless) on lead guitar. 

The band was chosen personally by Belle & Sebastian to perform at their second Bowlie Weekender festival presented by All Tomorrow’s Parties in the UK in December 2010. In late 2010 Howlin’ Rain released the EP The Good Life in digital format, followed by a limited vinyl edition in early 2011 via American and Birdman records. The album The Russian Wilds was released in February 2012. Mid way through The Russian Wilds touring in 2012, band member Joel Robinow left Howlin Rain unexpectedly, leaving the band as a four piece. [8]

Cohen Band

Sam Cohen

2015 is the year that guitarist, songwriter, producer, and animator SAM COHEN sets out on his sweeping solo project. Formerly a core member of Apollo Sunshine and the man behind Yellowbirds, Cohen spent the last decade touring and making records, mostly in Brooklyn, treading the tenuous boundaries between the roughhewn,the psychedelic, and the justplaintimelesslycool. Along the way he’s lent his guitar playing to the likes of Bob Weir, Norah Jones, CeeLo, and labelmate EDJ. Cohen also directs a beloved annual recreation of The Last Waltz that has featured Nels Cline, Cass McCombs, and former bandmate Twin Shadow, amongst dozens of others.

Cool It, Cohen’s solo debut, is an extension of the kaleidoscopic terrain evident on previous projects, but where those records rested blissfully in the sonic ether, Cool It reaches outward with more directness than ever, dropping a spotlight on Cohen’s arresting and unconventional songwriting. The melodic ebb and flow might call Harry Nilsson to mind, while guitars and synths flicker under song forms, occasionally overtaking them in fits of molten stoner rock.Dynamic vocal deliveries turn sharp corners, ranging from gruff to tender, sometimes within a single stanza.

Cohen plays and recorded everything on the album himself (save a few guest appearances from his former Yellowbirds compatriots), largely in a weeklong flurry in upstate New York. One creative gesture, captured with a lifetime’s worth of accumulated gear. Interestingly, all of the record’s lead synth hooks are performed on heavily processed guitars, a technique that saturates every mix with the feel of Cohen’s expansive and particular guitar virtuosity.

Pitchfork has called his work “willfully chaotic” and “highly refined” in the same review, while Paste has dubbed it “bedroom pop” and “a sonic tapestry.” Plaudits aside, he is an artist without consensus, evasive as ever, and finally all of the monikers, collusions, and alteregos are stripped away.

Introducing: SAM COHEN. 

Papercuts Band

Papercuts

Papercuts is the moniker of San Francisco singer/songwriter/producer Jason Quever. On Life Among the Savages, Quever’s dreamy mixture of baroque pop, storytelling lyrics, and detailed production work is at its most potent. Having spent nearly 2 years whittling the record down to the essentials, Life Among the Savages is the most concise and lucid of the 5 Papercuts releases. Recorded mostly in his SF home studio, Quever’s haunting melodies soar over strings, garagey guitar hooks, piano and mellotron, all held together by energetic bass and drums that never rely on a cliched beat. While there are echoes of bands like Spiritualized and the Zombies in the mood and ambitious orchestration of tracks such as the “Life Among The Savages” title track (which contains an arrangement contribution from Beach Houses’ Alex Scally), and echoes of dream pop such as the hypnotic “Staring At the Bright Lights”, the sound here is undeniably Quever’s all his own. And while the record is a lovely example of the production that he has also become known for, it’s the songwriting itself that shines the brightest here. 

Life Among the Savages is an eclectic, fun yet undeniably melancholy trip full of songs about city life, alienation, playing in bands, and smoking banana peels. Ultimately it’s the story of a couple of tumultuous years of a songwriter’s life transformed into melodies that are hard to forget.

Donkeys Wave

California places a distinct sonic stamp upon the music born with in its boundaries. Owens had his Bakersfield, Parsons his Joshua Tree, and Malkmus his Stockton, and in their tunes you can hear dust, desert highways, and skateboards gliding over suburbia. The Donkeys have San Diego, and from that environment have woven a fundamental ease in their music – a rock, a roll, a sway, a slide – you could even call it a breeze. On Ride the Black Wave, The Donkeys continue their easy rolling, classic vibrations, but add a mystery and tension that make this record their most lyrically and instrumentally compelling. 

Ride the Black Wave embodies what Jack Kerouac described of California’s coast as having an “end of the land sadness.” The Donkeys stare out at the ocean in a “fantastic drowse” – a kind of pensiveness towards their environs that summons the elements of sound and style that belong only to them. In “Blues In The Afternoon”, a collective mantra, the band runs out of land and asks of the ocean to offer suggestions about their fate. It is songs like these that prove the Donkeys are a band in the true sense of the word, sharing each other’s worry and wonder. With RTBW, The Donkeys have further caged their craft and have accomplished the delicate and artful challenge of taming the captured, while also letting it be wild.

Recorded at San Diego’s Singing Serpent and mixed by LA’s Thom Monahan, the Telecasters have a golden shimmer, the drums seem to echo with a regional reverberation. The notes coming off the Rhodes float on like beer-buzzed afternoons, but just when you get lost in the hypnotic swirl of “Sunny Daze” the churning guitars begin to circle like sharks, reminding us of the realities beneath all beautiful surfaces. Ten tracks deep, Adrianne Verhoeven of San Francisco’s Extra Classic appears like the mythic Calafia herself, delivering a vocal that would bring Cortez to his knees. 

So, it is with Ride the Black Wave that The Donkeys add their own stratum to California’s ever expanding musical frontier, while maintaining their golden “shine” as well as interjecting a tension with the sun and beauty. The record hypnotizes as much as it awakens; it poetically puts us at ease while we sit in traffic, peck at our keyboards in cubicles, or conversely, it accompanies us as we ride along desert highways, or sway with our lovers. It is about home; it is about waves, and surrendering to their movements, trusting that they will take us to where we truly belong.

Cohen Coolit

Sam Cohen

Cool It

Cool It – LP $20.00 *This is a pre-order, release date is 4/28/2015* Black vinyl + Digital Download (in package). US Shipping Included (Outside US? Contact us first)

Sam Cohen

Cool It

Cool It – CD $15.00 *This is a Pre-Order, Street Date 4/28/2015* Custom Mini- Gatefold CD Packaging. US Shipping Included (Outside US? Contact us first)

Sam Cohen

Cool It

Cool It – LP Bundle $33.00 *This is a pre-order, release date is 4/28/2015* Black vinyl + Bundle Item TBD + Digital Download (in package). US Shipping Included (Outside US? Contact us first)

Sam Cohen

Cool It

Cool It – CD Bundle $33.00 *This is a Pre-Order, Street Date 4/28/2015* Custom Mini- Gatefold CD Packaging + Bundle Item TBD. US Shipping Included (Outside US? Contact us first)

Sam Cohen

I’m Sam Cohen, and I’ve been making records for kind of a long time. The first time, I was 18. I wrote angsty songs about my girlfriend leaving me and recorded them along with some rockabilly and mambo covers in several midnight to 7 sessions in Houston, Tx. I moved to Boston to learn some chords, formed a band, and made a record in two days. It was horrible. We redeemed it with a home recorded EP that nobody ever heard. The guitars were phenomenal.

That morphed into Apollo Sunshine. We spent a year making a record that was weird and fun, though, at that time, we were singing like some glad­ass castratos. We spent the next two years touring ceaselessly. I think we might have been pretty cool at that point. Dirty dogs. Life on the road. America. The Band.

We moved into a farmhouse and made our most boring record. It was the most successful thing I’ve ever done. We released a third album to soft applause and broke up. A few years later, people started to admit liking, even loving it.

After that, I was living in Brooklyn and started Yellowbirds to be more of a solo thing. I made records I still like to this day. I made stop­motion collage videos to accompany the music, and started to put a little world together. It’s still there on the internet. I got to do some stuff, too: The National had us at All Tomorrow’s Parties, my bandmate Josh and I played with Bob Weir (several times), we toured a bit, Rolling Stone wrote about me (.com, whatever).

So those Yellowbirds records were pretty good, and people started asking me to produce their records. I worked on a ton of albums; playing, producing, engineering, collaborating in many different ways (sometimes with famous people).

I started to hear what I sound like, so I became Sam Cohen and made my latest record, Cool It. It’s mostly just me alone in a room, playing guitars, drums, bass, synths, singing, recording in both haphazard and elaborate methods. A few songs have my beloved Yellowbirds bandmates (Josh Kaufman, Annie Nero, and Brian Kantor).

If you’re reading this, you’re on the internet, maybe thinking about listening to a single mp3 by an artist you’ve never heard of.

Well Hoss, take her for a whirl. I stand behind this shit.

CAVALO Rodrigo Amarante

This is my first solo record. It was made during an unexpected but very welcome exile, in a land I wouldn’t predict I’d moor my boat for long but that, given such difference and a refreshingly nameless arrival, gave me the opportunity to re-cognize my nature, to recoup my ascendance and to disclose a new perspective over myself. It was as a foreigner, separated from others and yet still somehow attached to the furniture I had left behind, bits of myself I hung up around me like dead mirrors I could no longer turn my face to, that came to focus the beauty of the empty room ahead, a hint. I became enamoured by space, by distance, and began to see the double that looks at me from the outside, that reflects the vision I call mine, vehicle and invented accomplice to which I am also a channel, the one I name Cavalo. 

I have always felt like a foreigner, imagined myself as an explorer, moving from city to city every three years as a kid, pretending to have the forbearance and courage i ended up forging while secretly carrying the resentment of the imposed detour, of the wait to return. When I finally arrived back in Rio no longer a child and with an accent three times tampered I realized that my home town was mine only because I had invented it, its memory a dream of smells and hope that didn’t exist in space, maybe in time. I discovered myself a stranger, what I had been since I first left, what I knew I would forever be. And it was light and warm, I felt free and grateful, strong, and like this I departed again. I ended up finding myself in a type of desert, happy to be alone, overwhelmed with the void, with silence, the place where I wrote these songs from. I believe that everybody can feel foreign in one way or another, in the way that they feel they’re perceived by others, in their bodies, their streets, in their fate perhaps, so I dream that this vehicle, an unpredictable mirror that i fill, that serves me and that moves me, can also move you, serve yet others, with luck.

Rodrigo Amarante

Rodrigo Amarante de Castro Neves (born September 6, 1976) is a Brazilian singer-songwriter, multi-instrumentalist and occasional arranger born in Rio de Janeiro. He is part of the bands Los Hermanos, Orquestra Imperial and Little Joy and has released his first solo record called “Cavalo” in Brazil in late 2013.