Some Thornton School of Music graduates have taken advantage of the dwindling big-label music business and have begun to self-release their own music. Louis Cole, an outrageously talented drummer who graduated from USC in ’09 with a BM in Jazz Studies, released a self-titled album of original songs earlier this year. And he’s managed to combine his tight and energetic drumming with his breathy, understated vocals to create a style that is his own. 

The opening track, “What Will It Be?,” eases into a pleasant plucking of a single note on harp while Cole’s drumming sneaks up behind and introduces a completely new tone and lightning-quick beat. And as if that wasn’t contrast enough, the airy, choral vocals that soon enter in add an additional layer of ethereal harmonies that seem to exist almost without tempo. It’s this sharp contrast that stays consistent throughout the album, creating the artist’s own individual stylistic cohesion. 

The second track, “Big Green Suitcase,” introduces us to a bit of Cole’s humor, starting out with a beat somewhat similar to the one that came with those toy microphones from way back when (we all had at least one, didn’t we?), or perhaps from any given scene of Super Mario Bros. But Cole’s sophisticated chordal structures and vocals make for a much more complex result. A muted piano enters in, creating almost other-wordly underwater sounds, and the gentle vocals singing sweet, longing lyrics allow this song to soar effortlessly into the realms of both playfulness and sincerity. 

The third track, “Window Shop,” is a stand-out. The lyrics are again a distinctive mix of playful and heartfelt as they narrate, “Put me in your shopping cart, then put me back and break my heart / Lift me up and let me drop, you’re just here to window shop.” But the drum solos allow Cole to really showcase his abilities. It becomes clear that this is a seriously talented musician. 

Another element of Cole’s music that creates a wildly unique effect is the drone quality of several of the songs. It is most noticeable on the sixth track, “The End,” an instrumental break at the album’s midpoint. The white noise of the beginning waves in and out of focus, trading spots with the solemn piano. In this way, the consistent droning still manages to be melodic and beautiful. 

Cole seems to enjoy allowing us to experience the more intimate moments with him and the piano, as in “The End,” creating a melody that may search around the keys for itself, as long as he has the opportunity to surprise you with the next track. That is the case with “Hurricane,” which features one of the most satisfying, impressive and surprising beginnings you’ll ever hear. If you weren’t sure of his talent and musical expertise before, this one will do the trick. The introduction of the slick, driving drums may well knock you off of your feet. 

And while the vocals have been gently peeking out from underneath the surface of these songs, the last track, “Cloud of Flies,” introduces a solo voice that is, at last, at the forefront. Up until now, the vocals have essentially been integrated into the music rather than placed on top. And a more prominent voice is only appropriate when pleading, “Hang up your telephone / Someone that you love is on a hospital bed.” The intimacy and honesty of this piece, somewhat reminiscent of Radiohead’s quieter moments, make for a great ending to this album.

Graduating with a degree in the arts doesn’t seem so frightening now, does it? May not if that rare thing—truly original music, like Louis Cole’s—is a result. 

Cole’s next project is an album with Genevieve Artadi, to be released in a few months.