alternative — Page 2

→ July 2, 2023
→ By keith

Music update, June 2023.

These lists just keep getting longer, and still I feel like I’m probably missing a lot of great tracks. June saw some outstanding new albums – Queens of the Stone Age, Godflesh, Django Django, Protomartyr, Portugal. the Man to name a few – but my favorite was Geese’s 3D Country, the sophomore record from the Brooklyn post-punk band whose Projector was such a surprise back in 2021. So this month’s playlist has 32 songs and runs over two hours, helped by two tracks that run over seven minutes each, but I just couldn’t bear to cut anything else. As always, here’s the link to the playlist.

Pip Blom & Alex Kapranos – Is This Love? I wasn’t familiar with Pip Blom, a Dutch indie-pop band named for its lead singer, before this track; Kapranos is, of course, Franz Ferdinand’s lead singer/guitarist. This collaboration might be the best pure pop song I’ve heard all year, and the chorus is very early FF.

Beck w/Phoenix – Odyssey. A one-off single ahead of the two artists’ joint tour this summer, representing Beck at his most pop and Phoenix continuing the same vibe as last year’s Alpha Zulu. It should be the feel-good hit of the summer.

Speedy Ortiz – You S02. Man I am glad to have Speedy Ortiz back. This is the second straight single that’s peak Speedy, and “Plus One,” which they just released on Friday, is too. Rabbit Rabbit, their first full-length LP in five years, is due out in September.

The Mysterines – Begin Again. I loved most of the Mysterines’ singles and EPs prior to the release of their debut album Reeling in March of 2022, but that record didn’t include any of their best songs to that point; the sound was there, but the hooks were a little lacking. This is the first single from their as-yet untitled and undated second LP, and I like the melody and the sultry vocals, even if it doesn’t quite rock out the way the band can.

Louise Post – What About. Sound familiar? I’ll give you a hint – the seether’s Louise. (One, two, three, four!) That is indeed Veruca Salt lead singer Louise Post, who just released her debut solo album, Sleepwalker, on June 2^nd.

Queens of the Stone Age – Paper Machete. I’ll say two things about the new QotSA album, In Times New Roman: I hate all the punny song titles (“Carnavoyeur,” “Obscenery”), and I think it’s a good record that reflects Josh Homme’s age and increasing interest in melding more pop songs with the traditional QotSA crunch and even his stoner-metal roots.

Weird Nightmare – She’s the One. Alex Edkins (METZ) records as Weird Nightmare, and this latest track is more jangle-pop than his last album was, leaning even into late 60’s pop music.

Sprints – Adore Adore Adore. I love how the chorus here channels rage into a great earworm. No word on a new album from these Irish punks, although they’re touring with Suede later this year.

BLOXX – Runaway. The second single this year from this London punk-pop quartet, a step up from “Television Promises,” as we await word on a new album.

Tame Impala – Retina Show. The better of the two unreleased demo tracks from the Lonerism sessions, released now on that album’s tenth anniversary. The breakbeat here behind the music pairs so well with the psycheledia in the guitar and the overall production.

STONE – I Gotta Feeling. STONE put out their first EP Punkadonk in November and keep churning out high-energy singles, this time with spoken-word lyrics – not exactly rapped, thank goodness – in advance of their performance at Glastonbury last weekend.

Ghost of Vroom – Still Getting It Done. Mike Doughty’s new Soul Coughing-ish act has put out two new songs in 2023, this and “Pay the Man,” with this song better both musically and lyrically, with more of that drum-and-bass vibe from his original band.

Jungle feat. Channel Tres – I’ve Been in Love. The London-based neo-soul duo Jungle will release their fourth album, Volcano, on August 11^th, with this the third single off the record, featuring guest vocals from American rapper Channel Tres.

Satin Jackets feat. Panama – Alive. I’m a Panama fan going way back to 2013’s “Always,” although now the Australian trio mostly collaborates with other artists, including several tracks with German producer Satin Jackets. This one sounds quite a bit like those early Panama tracks, all electronic pop with a great hook.

Cory Wong feat. Ben Rector – Ready. The ubertalented multi-instrumentalist Wong has lined up a huge collection of collaborators for his upcoming album The Lucky One, due out August 18^th, including this soulful track with singer/songwriter Rector, with whom Wong has worked and toured before, as well as another track “Hiding on the Moon” with O.A.R.

Grian Chatten – The Score. Chatten is the lead singer/guitarist for the British punk act Fontaines D.C., but his solo debut Chaos For the Fly is a shocker, a lush, soft, acoustic-driven collection of subtle ballads and folk songs, led by this track, along with the previous singles “Fairlies” and “Last Time Every Time Forever.”

Slowdive – kisses. Slowdive returned in 2017 to release their first new music in 22 years, then went dark again, but they’re back with this new track and another album, Everything Is Alive, due out on September 1^st. Slowdive have always found themselves lumped in the shoegaze movement, but at least since their return, they’ve been firmly planted in dream-pop, and this shimmering song is another example of how they create lush textures combining music and voice.

Geese – 3D Country. The title track from what might be my favorite album of the first half of 2023 comes from this group of NYC kids barely out of their teens, whose Projector was my #4 album of 2021. They’ve expanded their sound in myriad ways, maintaining their experimental leanings but incorporating classic rock, country, and jazz with their previous take on post-punk. I see a lot of comparisons to Squid, but Geese’s songs are tighter, still ambitious and even meandering (fitting with the album’s concept) but always with purpose.

Public Image Ltd. – Car Chase. Fresh off their fourth-place finish in Eurovision with their song “Hawaii,” a tribute to John Lydon’s wife, who was suffering from Alzheimer’s disease at the time and died in April, PiL have this new track that’s much more in line with their traditional sound. Their first new album in eight years, End of World, comes out on August 11^th.

Protomartyr – For Tomorrow. I haven’t gotten through all of their newest album Formal Growth in the Desert, but I’ve liked several of the songs I’ve heard already, and the song “3800 Tigers” includes a reference to Lou Whitaker, so how can I not love it?

Portugal. the Man – Plastic Island. Chris Black Changed My Mind is a huge departure from Woodstock, way less poppy and less rock-oriented, this time with a wide array of guest musicians from different genres and even eras (Edgar Winter!). I think it’s going to disappoint a lot of people who only jumped on the band because of “Feel It Still” but it’s thematically in line with their two albums before that one – and I’d guess a little bit of a rejection of mainstream success and airplay too. There’s a lot to like but it’s just a less accessible album.

Christine and the Queens – Big Eye. Chris’s new album Paranoïa, Angels, True Love is a sprawling 20-track record loosely built around the story of the play Angels in America with guest appearances from Madonna on three of the songs, and it can’t help but be uneven in parts. It’s also a broad departure from his prior mature-pop style, meaning there aren’t the immediate ‘hits’ like “Tilted” or “5 dollars,” but the record has some huge, soaring moments where his music matches his ambitions, like this seven-minute track.

Romy – Loveher. Romy (of the xx) sounds incredible here on the latest single ahead of her long-delayed debut solo album, Mid Air, due out in September, although the music below the vocals is a little simple. Her voice just carries the day.

Django Django – Gazelle. The Djangos released an album in four “parts,” effectively EPs, called Off Planet in mid-June, to generally strong reviews that all seem to agree that it’s too long (by length, it’s a double album, although conceptually it’s not). I’ve stuck with the Djangos for a decade even though nothing they’ve done has had the commercial or critical success of “Default” and their Mercury-nominated eponymous debut album in 2012. I just like their general sound of psycheledic-tinged dance-pop, of which this is an especially good example.

D.A. Stern feat. Sarah Chernoff – Lovebird. Chernoff was the singer for the short-lived group Superhumanoids and I’ve followed her solo career since they disbanded because I think she’s one of the best vocalists I’ve ever heard. Here she provides guest vocals for the LA-based songwriter/producer Stern, finding her in more of a rock vein than anything I think she’s done before.

Kyo feat. Coeur de Pirate – Dernière danse. Béatrice provides guest vocals on one verse of this track by French rock band Kyo, who’ve been around for a quarter century but of whom I hadn’t heard before this, probably because they sing in French, and we just don’t cotton to that sort of thing around here.

The Hives – Countdown to Shutdown. These Swedish rockers will release their first album in 11 years, The Death of Randy Fitzsimmons, on August 11^th, and just like the first single from the record (“Bogus Operandi”) this one has a very simple, loud, catchy guitar riff powering the track forward.

Rival Sons – Mirrors. I admit that Rival Sons’ sound isn’t the most original, but they do come up with some great riffs that bridge the gap between 1970s rock like Led Zeppelin (their most obvious influence, I think) and the early 1980s metal bands that at least started out as Zep clones, even if they later asphyxiated on their own hairspray.

Post Animal – Aging Forest. Well this certainly isn’t going to slow the comparisons of Post Animal to Tame Impala. You can hear the Kevin Parker influence in the chorus, while the verses are more doom than psychedelica. As an aside, Stranger Things’ Joe Keery was in Post Animal when they recorded their first album, but left the band as the show took off.

King Gizzard & the Lizard Wizard – Dragon. Yes, it’s nearly ten minutes long, although most of the songs on the new album, ridiculously titled PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation, are on the longer side, as the band goes back to the heavier metal sounds of Infest the Rats’ Nest with a more open, jamband approach to the music.

Horrendous – Cult of Shaad’oah. Horrendous’ highly progessive death metal sound is still here, but the vocals are actually more shouted than growled for large parts of this track, off their upcoming album Ontological Mysterium (August 18^th).

Godflesh – LAND LORD. I include Godflesh here as much for their massive importance in the history of metal; they all but created the industrial metal subgenre, merging their now signature non-musical sounds with the detuned guitars and extreme riffing of the grindcore genre that was ascendant at the same time in the U.K. Streetcleaner was such a shock to the metal system, especially given the dominance of hair metal in 1989, and tracks like “Christbait Rising” and “Like Rats” still stand up exceptionally well. Their latest record, PURGE, is less overwhelming than their last two albums – both of which came after their breakup and re-formation – with a more open and, odd as it is to say, brighter sound, with the guitars up front and the bass & drum machine produced a little towards the rear. Highlights include this, “NERO,” and “ARMY OF NON,” which has a sample of a rapper saying “Check it out, y’all” that I think might be Slick Rick.

Filed Under: Uncategorized Tagged With: 2023 in music, alternative, indie, Music, progressive metal

→ June 2, 2023
→ By keith

Music update, May 2023.

This might be my longest monthly playlist ever, at 31 songs and and 110 minutes; it was at two hours before a few late cuts as I put this post together. As always, you can access the playlist here if you can’t see the Spotify widget below.

The Hives – Bogus Operandi. Yep, early aughts faves the Hives are back, with their first new album in eleven years, The Death of Randy Fitzsimmons, due out on August 11^th. The Hives have been good for one kickass single per LP, so here we are, with a killer guitar riff and earworm shout-along chorus.

Royal Blood – Mountains at Midnight. This got in just under the wire, coming out last Friday as the lead single from the British duo’s upcoming fourth album Back to the Water Below, coming out on September 8^th. They produced the LP themselves, after sharing those duties with Josh Homme on the previous record, so it’ll be interesting to see if they maintain the slightly funkier sound from Typhoons or go back to more straightforward rock as they do on this single.

Island of Love – I’ve Got the Secret. This London garage-rock band just released their self-titled debut album on Jack White’s Third Man Records label, and the LP is all over the place, drawing from a ton of genres – like the rockabilly sound merged with punk on this track – but with a maddening lack of consistency. They’re still a prospect, I guess.

The Coral – Wild Bird. The Coral have been around for nearly 30 years, but I associate them more with psychedelic rock and as the darlings of the post-Britpop rock scene, but this song sounds like they’re doing their best Lord Huron impression, and it’s great.

Grian Chatten – Fairlies. Chatten is the lead singer of Irish punk band Fontaines D.C., but his debut solo album, Chaos on the Fly, is going to be an entirely different affair based on the two singles he’s released so far. This jangly acoustic number sounds like it should be consumed along with a not-too-cold Guinness in a smoky bar.

Blur – The Narcissist. Another surprising return in a month full of them, Blur gifted us their first new song in eight years this month, and their album The Ballad of Darren, due out in July, will be just their second new LP in the last two decades. It’s not quite peak Britpop Blur, but it ranks among their best tracks post-Blur, which gave us the very un-Blur-like “Song 2.”

BLOXX – Happy Anniversary (To Being Lonely). This is more like it, the sort of straightforward punk-pop that made BLOXX’s debut album Lie Out Loud such a joy. We’re still waiting for news on a sophomore LP.

Queens of the Stone Age – Emotion Sickness. Speaking of Homme, it looks like he produced QotSA’s upcoming album In Times New Roman… rather than Mark Ronson, who was responsible for the tonal shift on 2017’s Villains, with its more uptempo sound and its very funk-influenced hit “The Way You Used to Do.” This sounds much more like the Era Vulgaris QotSA sound, just slightly modernized, which I imagine will please a lot of longtime fans. I’ve liked just about everything they’ve put out, so I’m here for it all.

The Damned – You’re Gonna Realize. I had no idea these guys were still recording, but they put out an album, Darkadelic, at the end of April, their first since 2018’s Evil Spirits (which I missed completely). The Damned were a seminal punk band that eventually morphed into one of the earliest gothic rock acts; this track fits more with the latter tradition, and any trace of their punk origins is absent here, but succeeds on its own merits.

Wombo – Slab. I wasn’t familiar with Wombo, an art-rock trio from Louisville, before hearing this track, which melds some experimental guitarwork with a traditional foundation of bass and drums.

Nation of Language – Stumbling Still. One project I would love to do someday when I have infinite time is to catalog all of the tracks I’ve put on these playlists to see how often certain bands have appeared. I feel like Nation of Language have popped up repeatedly over the years even though I have probably never listened to a full album by the Brooklyn post-punk band. They put out a lot of songs I like, including this one, with its driving bass line and big synth line in the chorus.

Jungle – Dominoes. The British funk/soul duo’s fourth album Volcano is due out August 11^th. They really don’t miss – if anything, they keep improving, although I do miss the horns that were more prevalent on their first album.

Simply Red – Let Your Hair Down. I was unaware Mick Hucknall & company had re-formed and put out an album in 2019, but they did and then released another album, Time, just last Friday. The Mancunians had two #1 hits in the U.S. with “Holding Back the Years” and their cover of Harold Melvin & the Blue Notes’ “If You Don’t Know Me By Now,” although they were far more commercially successful in the U.K. with songs beyond those two ballads. This is a better indicator of their blue-eyed soul sound, with some great bass and lead guitar work beyond Hucknall’s vocals.

Jorja Smith – Little Things. Smith’s voice is lovely, and here she almost sounds like she’s scatting over the piano-and-drum jazz lines behind her voice. She finally announced that her sophomore LP, Falling or Flying, will be out in September.

Arlo Parks – Devotion. Parks’s first album Collapsed in Sunbeams was my #2 album of 2021 and won the Mercury Prize that fall; the album I had at #1, Little Simz’s Sometimes I Might be Introvert, won the Mercury Prize in 2022. Anyway, Parks’s second album My Soft Machine came out last Friday and it’s tremendous, with her signature vocals and poetic lyrics, but now with a broader range of music behind her, such as the rock guitar backing on this track or electronic elements interspersed throughout the album. I almost included “Pegasus,” which features vocals from Phoebe Bridgers as well.

Rahill – Futbol. Rahill Jamalifard is, according to her own website, “a multidisciplinary artist working within numerous overlapping musico-poetic traditions.” Those are some words. Anyway, I love this song and its late ‘90s trip-hop feel.

Portugal. the Man featuring Black Thought & Natalia Lafourcade – Thunderdome (W.T.A.) Portugal. the Man’s followup to their breakout album Woodstock, titled Chris Black Changed My Life, will be out on June 23^rd, and it seems like it’s going to be a stylistic free-for-all for the Portland band.

Killer Mike featuring Eryn Allen Kane – MOTHERLESS. I’ve never been a huge Killer Mike fan, but this tribute to his late mother is the best thing he’s ever done. It’s from Michael, his first solo album in eleven years, due out on June 16^th.

James BKS – Celebrate Blessings. Another banger from James BKS, incorporating gospel traditions from several sub-Saharan cultures along with hip-hop and some Bantu rhythms. His album Wolves of Africa Part 2 is due out in September, the follow-up to last year’s Part 1, and will feature a contribution from the legendary Afropop singer Angelique Kidjo.

Sparks – Nothing is as Good as They Say It Is. How the hell are these guys my parents’ age and still churning out pop gems like this one, which comes 51 years after their first-ever hit, “This Town Ain’t Big Enough for Both of Us.” They’ve changed sounds so many times over the years, but if you listen to that track and this one, it’s clear they’re both from the same songwriters.

Geese – Mysterious Love. From a pair of septugenarians to a group of kids barely out of their teens. Geese’s debut album Projector was like a teenaged love letter to Gang of Four and early Wire. Their second album is going to be an entirely different affair, but no less weird, just more ambitious and bonkers. This is my favorite of the three singles released so far, with the full album, 3D Country, out on June 23^rd.

Brad – In the Moment That You’re Born. Brad’s lead singer Shawn Smith, who also sang vocals on Pigeonhed’s “Battle Flag,” died in 2019 of a torn aorta. The remaining members, including Pearl Jam guitarist Stone Gossard, announced that they will release their final album, including the songs they were recording with Smith when he died, on July 28^th, with this epic, sludgy song the title track.

bdrmm – Pulling Stitches. These shoegaze revivalists from Hull will release their second album, I Don’t Know, on June 30^th. They do the My Bloody Valentine wall of distorted guitars exceptionally well here, but the production is so much better and you can distinguish various elements, including the vocals, like you never could with MBV.

Spiritual Cramp – Phone Lines Down. Named for a song by the highly influential goth-rock band Christian Death, this San Francisco sextet delivers pop-edged punk that also shows some of the members’ roots in that city’s hardcore scene.

Girls in Synthesis – I Know No Other Way. This London trio has punk, noise rock, and art-rock influences, and released their second album last October, with this a one-off single ahead of a summer tour in the UK.

Protomartyr – Elimination Dances. This post-punk band from Detroit released its sixth album, Formal Growth in the Desert, today, with this slow-burning track actually released at the end of April.

Squid – The Blades. Squid’s highly experimental, genre-defying sound has earned them substantial critical acclaim over the last three years, with everything from art rock to jazz to punk to new wave and more thrown into the mix. This track, off their second album O Monolith (out June 9^th), even brings in some shoegaze guitar sounds towards the end below vocalist Ollie Judge’s acrobatic vocals.

Lambrini Girls – Lads Lads Lads. Iggy Pop called this Brighton punk duo his “favourite new band” and has played them extensively on his BBC 6 show this spring. This track is the highlight of their debut EP You’re Welcome, released on May 18^th.

Enforcer – Metal Supremacia. Old-school speed metal from Sweden. These throwbacks are part of the “new wave of traditional heavy metal” movement, the name a nod to the new wave of British Heavy Metal that brought us Iron Maiden, Def Leppard, and more (including the Tygers of Pan Tang, who have a new and not that great album out). I have my doubts that this style of music can ever catch on again, but as someone who came of age as a music listener in the ‘80s I’ll always have a soft spot for classic thrash and speed metal.

King Gizzard and the Lizard Wizard – Gila Monster. This Australian rock band will release their 24^th album in just thirteen years, PetroDragonic Apocalypse, on June 16^th, and their shapeshifting has them returning to the thrash-influenced sound of 2019’s Infest the Rats’ Nest, at least on this stuttering, pounding guitar track.

Horrendous – Ontological Mysterium. Horrendous’s second and third albums were some of the best progressive death metal records I’d ever heard, showcasing incredible guitar work and musical experimentation, but their most recent album, Idol, seemed to lose steam, with the same intricate fretwork but less sense of melody or songcraft. This title track off their upcoming fifth album sounds more like the style they captured so well on Ecdysis and Anareta, with a great central guitar riff, experimenting with time signatures, and a clear, powerful drum line behind it. The vocals will turn off a lot of listeners – and I completely understand this – but Horrendous tends to mix them further back into the music so it’s easier for me to focus on the music.

Filed Under: Uncategorized Tagged With: 2023 in music, alternative, death metal, indie, metal, Music, post-punk, progressive metal, rap

→ May 4, 2023
→ By keith

Music update, April 2023.

Whew, that was a very strong month, or maybe I’m just finding more music every time I do this. I actually cut a few tracks (two were from Deeper and Beach Fossils) and we’re still at 26 songs and 100 minutes. Anyway, you know what to do.

Dexys Midnight Runners – I’m Going to Get Free. Yes, that’s the same band that produced “Come On Eileen” forty years ago, and I feel reasonably certain this is the best thing they’ve put out since then, a jaunty, bouncy, incredibly catchy track that recalls the same throwback sound they rode to the top of the charts when I was still in elementary school.

Speedy Ortiz – Scabs. Welcome back to Sadie Dupuis and company, who’ve been gone way too long. This is their first new track since 2018 and has the same sort of dissonant and off-kilter melodies that have made them one of my favorite artists of the last decade.

Pynch – Tin Foil. This British alternative act is about to release its first album, and I love the smartass lyrics within this post-punk envelope that sounds like Wire mixed with the Twerps. The line “I’m saving up for the apocalypse/Because there’s gonna be deals” still makes me laugh every time.

WITCH feat. Sampa the Great – Avalanche of Love. WITCH were pioneers of what is now called Zamrock, but hadn’t released any new material since about 1985. It turns out the band have been recording a new album, with this second single featuring their fellow Zambian Sampa the Great on vocals.

Blondshell – Salad. Sabrina Teitleman, who records as Blondshell, has been tabbed the next big thing by a number of publications, and just released her debut album under this moniker (The Guardian posted a rave review). It’s full of angsty, often indignant tracks about bad relationships and the misogyny of modern society; the lyrics and the melodies are pretty inconsistent in quality, but when she peaks, as she mostly does here on “Salad,” it’s really compelling and separates her from the huge class of female singer-songwriters mining similar thematic territory.

Pinkshift – to me. This Baltimore band released its debut album in October and return now with this one-off single, which sounds like Hole mashed up with some My Chemical Romance and a doom-inspired drum line.

Chappaqua Wrestling – Need You No More. I assumed these guys were from New York when I first heard this track, but they’re from Brighton and do a sort of mashup of Britpop and ‘90s American alternative. The laconic vocals would usually bother me, but they contrast so well with the high-energy guitars behind them I’ll forgive the delivery.

LA Priest – It’s You. I loved Wild Beasts, and when LA Priest first crossed my radar after that band broke up, I was sure it was their former lead singer or perhaps a lost track from one of their last albums. Nope, it’s an entirely different artist, named Sam Dust, who just works in a similar musical vein.

DEADLETTER – The Snitching Hour. A ska-tinged post-punk act from London with a Yard Act-like approach to their vocals. Good luck getting the “Love thy neighbor” chorus out of thy head.

Altin Gün – Su Siziyor. Another great track from this Anatolian rock act, with heavy psychedelic vibes over a strong rock foundation, from their new album Ask (which should have a cedilla under the s). Strongly recommended for fans of Khruangbin.

Jessie Ware – Begin Again. I don’t tend to go in for “sophisti-pop,” and there’s definitely something carefully constructed about this track from Ware’s latest album (the empty lyric “Give me something good that’s even better than it seems” might as well come from ChatGPT), but man does this thing bang.

Arlo Parks – Blades. I can’t wait for Parks’s sophomore album My Soft Machine to drop on the 26^th of this month, as her voice and lyrics sound as strong as they did on her Mercury Prize-winning debut but with a new direction in her music.

Jorja Smith – Try Me. Smith’s debut album Lost and Found made my top albums of 2018, but since then it’s been all EPs, collaborations, and one-off singles like this one, which showcases her incredible, sultry voice over a jazzy drum-and-bass backdrop.

Romy – Enjoy Your Life. That’s Romy of the xx, who also has provided vocals on Jamie xx’s standout track “Loud Places.” She’s been teasing her solo debut album for at least three years now, with no new news about its release, although between this and last year’s “Strong” I have to think a full-length LP is coming soon.

Hatchie – Dream On – Country Girl. Another bonus track from the deluxe edition of last year’s Giving the World Away.

The Beaches – Everything is Boring. This track from the Toronto quartet reminds me a bit of the Aces mixed with the California pop-punk vibe of artists like Bleached.

MUNA – One that Got Away. This trio dropped their third album last year and are already back with this pop gem, which has a little Human League to the music. (I’m old. Sorry.)

The Japanese House – Sad to Breathe. Another lovely track from Amber Mary Bain, with a balladesque beginning that leads into a soft electronic track, all of which shows off her vocals. I’m very here for singer-songwriters who actually let it rip a little on the microphone.

Bloc Party – High Life. Kele Okereke and company appear to be taking a victory lap on this celebratory track, their first since last year’s Alpha Games, which in turn was some of their best work since “Banquet.”

SENSES – Drifting. The debut album from this British band feels very post-Britpop, and while I wish this song had some more lyrics, the one line they repeat does get stuck in my head.

The DMA’s – Everybody’s Saying Thursday’s the Weekend. This Australian band has had quite the career track already, starting out as an Oasis-like rock band, then veering into electronica on their last album, now trying to find a sort of middle ground that’s more towards their rock origins but with some electronic elements and a more mainstream feel. I don’t think they’ll get back to the heights of “For Now” (which was #76 on my top songs of the 2010s), “Too Soon,” or “Dawning,” but the new album is solid enough.

Teenage Wrist – Sunshine. I don’t know what to call the sort of ‘90s alternative music that appeared in the wake of grunge and leaned more into that genre’s noisier elements à la shoegaze – shoegrunge? Okay, that needs work. I especially think of bands like Hum, who seemed like they were going to be huge after “Stars” became a massive alternative radio hit and captured something about that moment in music as pop’s hold on the commercial market was crumbling. Teenage Wrist have been around for about a decade, and this track has just that sound to it.

Siracuse – Saviour. If you played this for me and told me it was from 1993 from a Mancunian band that opened for the Charlatans, I’d believe you. Anyway, Siracuse is from Cheltenham, and I don’t think they were even born when Some Friendly came out. I’m old, in case you didn’t catch that before.

Rival Sons – Guillotine. Rival Sons do an unapologetic riff on ‘70s classic rock, avoiding the straight derivative nature of knockoffs like Greta van Fleet in favor of a broader approach that, here, sounds more like Audioslave covering Led Zeppelin.

Divide and Dissolve – Blood Quantum. Divide and Dissolve – D&D, I suppose, although that acronym may be spoken for – are new to me but have been recording since at least 2017. They’re an Australian-based doom metal duo comprising a saxophone/guitar player from the US who has Tsalagi and Black ancestry and a drummer of M?ori and white heritage, and those diverse backgrounds are reflected in their song titles and their occasional lyrics.

Godflesh – NERO. I’ll never forget the CMJ review of Godflesh’s seminal debut album Streetcleaner, which read in part, “Godflesh knows what scares you.” That LP, released in 1989, defined the genre of industrial metal and remains a landmark in extreme metal in general, with “Christbait Rising” still their best track. They’re still going, even around a seven-year breakup and now a six-year gap since their last album, with number nine, Purge, due to drop next month. Singer/guitarist Justin Broadrick is back to his death growls, but it’s the grinding gears below the vocals that really shine here.

Filed Under: Uncategorized Tagged With: 2023 in music, alternative, metal, Music

→ April 7, 2023
→ By keith

Music update, March 2023.

I think March was a pretty good month for new music, although I was on the road so much I had less time to explore than I do in most months. We did get comeback songs or albums from three of my favorite bands from the ‘80s, though. As always, here’s the direct link to the playlist if the widget below won’t load for you.

The Beths – Watching the Credits. This New Zealand quartet shared this power-pop gem, recorded during the sessions for my #1 album of 2022, Expert in a Dying Field, but failing to make the final cut.Also, check out their mini-concert as part of the NPR Music Tiny Desk series, including my two favorite tracks from that same LP.

Jungle feat. Erick the Architect – Candle Flame. Jungle announced their upcoming fourth album, Volcano, due out in August, and released this very upbeat lead single with rapper Erick the Architect of Flatbush Zombies, who gives the song a Q-Tip/Chemical Brothers sort of vibe.

Killing Joke – Full Spectrum Dominance. An actual new track from Killing Joke, released to honor their sold-out show at London’s Royal Albert Hall last month. Jaz Coleman is 63 and still delivers, with a track that would have fit well on 2015’s Pylon.

Depeche Mode – People Are Good. But I thought people were people? This is probably my favorite track from Memento Mori, Mode’s fifteenth studio album and first since the death of Andy Fletcher last May. The album is hit or miss but its best tracks recall the gothic new wave sound they brought mainstream in from Black Celebration through Violator.

Arlo Parks – Impurities. Parks’ second album, My Soft Machine, is due out on May 26^th, and all of the advance tracks indicate a vocal style similar to that of Collapsed in Sunbeams but with more electronicelements than the first album offered.

The Japanese House – Boyhood. Not to be confused with Japanese Breakfast or Japanese Wallpaper or Japandroids or the ‘70s band Japan, The Japanese House is Amber Mary Bain of Buckinghamshire, England, and this lush, dreamy song is just lovely – she reminds me quite a bit of Ben Howard circa Old Pine.

Daughter – Swim Back. I’m thrilled that the English shoegaze trio Daughter are back, six years after their last album Music from Before the Storm, a soundtrack to the video game Life is Strange: Before the Storm and maybe the best such example of an album I’ve ever heard. Their third proper album, Stereo Mind Game, comes out on Friday.

Bully – Days Move Slow. I’ve never loved Alicia Bognanno’s nasal, raspy vocal style, which often gets compared to Kurt Cobain’s but I think misses core differences in how they sang (or screamed, as the case may be). This song, about grieving the death of her dog, is one of her best melodies and recalls a lot of 1990s post-grunge indie rock, although once again she’s half-singing through her nose and I have a hard time getting around that.

Black Honey – Cut the Cord. Black Honey released their third album of sunny indie rock, A Fistful of Peaches, in March, featuring this track, “Heavy,” “Charlie Bronson,” and “Out of My Mind.”

Temples – Afterlife. The fourth album from this English psychedelic-rock band, Exotico, drops on April 14^th, their first new music since 2019’s superb Hot Motion.

Bartees Strange – Daily News. Another bonus track from Strange’s 2022 sophomore album, the excellent Farm to Table, where he continues to craft his own sound independent of his indie-rock influences.

Hatchie feat. Liam Benzvi – Rooftops. Hatchie can really write a melody, and she’s one of the best songwriters of dream pop working right now, but I have always lamented the lack of power to her voice. It’s boosted here by vocals from Brooklyn singer-songwriter Benzvi,

Christine and the Queens – To be honest. The lead single from his upcoming album PARANOÏA, ANGELS, TRUE LOVE is also a throwback to the grandeur of Chris and his prior work. The lyrics explore both his transition and the last four years since the death of his mother, although some of the lines – “I’m trying to love, but I’m afraid to kill” probably lose something in translation.

Alison Goldfrapp – So Hard So Hot. This is indeed the lead singer of Goldfrapp, who released their first album in 2000 (Felt Mountain), releasing her first proper solo record, with this electronica gem as its lead single.

Nabihah Iqbal – This World Couldn’t See Us. Iqbal used to work with the late producer/DJ Sophie as a vocalist, and is about to release her second solo album, Dreamer, on April 28^th. This track sounds like something right out of London’s post-punk/”cold-wave” scene circa 1981, right down to the reverbed vocals.

boygenius – Satanist. I will never love boygenius the way critics do, in part because I don’t love the laconic vocal style of all three members (Phoebe Bridgers, Lucy Dacus, and Julien Baker), but their second album, the record, is a big step up from their first record musically, with much better hooks.

BLOXX – Television Promises. BLOXX first hit my radar with 2020’s Lie Out Loud, which had two bangers in the title track and “Coming Up Short.” This new song has a similar punk-pop vibe but more topical and denser lyrics, with some clever turns of phrase at the cost of some of the track’s energy, and comes in advance of their EP Modern Day, due out in August.

Project Gemini – After the Dawn. I could have sworn this was a King Gizzard and the Lizard Wizard track at first, but it’s actually British multi-instrumentalist Paul Osborne, who also works as an editor at Shindig! magazine. This track draws deeply on ‘70s and even late ‘60s psychedelia with some nifty guitarwork in the middle.

Slow Pulp – Cramps. Slow Pulp’s first new music since the 2021 EP Deleted Scenes brings back their grunge/shoegaze hybrid, with elements for fans of Snail Mail and Velocity Girl alike.

Island of Love – Fed Rock. This London band describes their sound as “brutal slamming death metal” on their Instagram, but they’re much more punk – no death growls here, fortunately, although this seems to be a running gag – and post-punk with a surprising sense of melody beneath the frenetic guitar and drums.

Metallica – 72 Seasons. I have to admit, this is pretty good. They’ll never be the Metallica of Puppets or Justice, but I’ll accept this substitute.

Filed Under: Uncategorized Tagged With: 2023 in music, alternative, indie, metal, Music, rap

→ March 2, 2023
→ By keith

Music update, February 2023.

February spawned a lot of great music, as it turns out, enough that I have 82 minutes of new tracks for you here. As always, if you can’t see the Spotify widget below, you can access the playlist here.

Temples – Cicada. I seem to like whatever Temples puts out, at least for their singles; their take on psychedelic rock, often with the kind of influences from Asia and north Africa that gave us Led Zeppelin’s “Kashmir.” I love the interplay between the guitar and vocals in the frantic chorus here.

Fucked Up – Cicada. What are the odds of two great songs called “Cicada” dropping in the same month? Technically this came out in late January on these Canadian punk/post-hardcore stalwarts’ sixth album, One Day, and if you told me this was a lost track from Hüsker Dü I’d believe you.

Geese – Cowboy Nudes. This is the first new song from this young Brooklyn band (including Mets fan Dominic DiGesu on bass!) since their standout debut album Projector, and it sees them expanding their sound substantially. It’s less dissonant, better produced, and definitely more art-rock than anything on Projector, which was an incredible throwback to the heyday of post-punk.

CHVRCHES – Over. A one-off single from the Scottish trio, who just signed a new deal with Island Records, “Over” goes back a little in time, with a sound reminiscent of “Clearest Blue” from Every Open Eye.

Altin Gün – Rakiya Su Katamam. I didn’t know Anatolian rock, also called Turkish psychedelic rock, was a specific subgenre, but I’m extremely into it after stumbling on this track by this Amsterdam-based outfit. The “i” in the song’s title should be the Turkish character ?, without the dot on type, but I don’t think it’ll display properly.

Brooke Combe – Black is the New Gold. Combe is just 22, from Midlothian, Scotland, and this is the title track from her forthcoming mixtape. The hook was stuck in my head for days, and I like both her singing voice and the slight syncopation (here, stress on the third beat of each measure) that gives the track its subtle groove.

Caroline Polachek – Blood and Butter. Polacheck was half of Chairlift, who produced two of my favorite tracks of the last decade (“I Belong in Your Arms” and “Ch-Ching”), but her solo stuff has left me pretty cold. This is my favorite of her songs since Chairlift broke up, as it has a much stronger melody while still showcasing her impressive voice.

John-Allison Weiss – Tell Me to Go. Another strong single from The Long Way, Weiss’ first album in over seven years and their first since coming out as trans and non-binary.

Bartees Strange – Tisched Off. One of two tracks on a double-sided single from Strange as part of Sub Pop’s singles series, along with a song featuring Daniel Kleederman.

STONE – I Let Go. The first new song from STONE after their 2022 EP Punkadonk is a raucous rocker that’s less punk and more hard-edged rock-and-roll.

bdrmm – It’s Just a Bit of Blood. This British act takes an experimental approach to post-punk and shoegaze, releasing this as the lead single ahead of their second album, I Don’t Know, due out in June.

Squid – Swing (In a Dream). Squid are even more experimental, with a post-punk underpinning but a very definite bent towards the dissonant and the offbeat, but the chorus here is a complete earworm.

wilt – puberty. wilt are an LA-based quartet who’ve released just three songs so far, including this most recent one, which has a slow burn to a big finish with giant guitar riffs that reminded me of the band Hum.

beabadoobee – Glue Song. A cute two-minute acoustic number from beabadoobee, not one of my favorites from her but a solid showcase for her voice.

Beck – Thinking About You. I generally do not love Beck’s slower acoustic tracks, even though they tend to garner him more critical acclaim. I also didn’t like this song the first time I heard it, but then I went back, and I liked it more the second time, and even more the third time. So here it is.

Black Honey – OK. I include just about every single Black Honey puts out at this point. Their third album, A Fistful of Peaches, comes out on March 17^th.

Girl Ray – Everybody’s Saying That. A North London trio that started out as an indie act and pivoted towards pop around 2018-2019, Girl Ray just released this funk-tinged pop track right at the start of February, with a great hook in the chorus and a prominent bass line that makes this a hell of a dance song too.

swim school – delirious. swim school describe themselves as “Tesco-value Wolf Alice,” which isn’t that apposite to this particular track, which is way more shoegaze than Wolf Alice’s cheerier indie-pop/rock style.

Inhaler – Just to Keep You Satisfied. Inhaler released Cuts & Bruises, their second full-length, two weeks ago, and I think they’ve stalled; this is more of the same from the Irish quartet, but even a step back in the quality of their melodies. Inhaler has a sound, and that only gets you so far without some hooks like their first album had.

Depeche Mode – Ghosts Again. I mean, if you want to go back to the sound of the ‘80s, you could just listen to one of the bands that made that sound. This is the first song from Memento Mori, the band’s fifteenth album and their first since the death of longtime band member Andy Fletcher. The album drops March 24^th, and it sounds like it will be a melancholy affair, which isn’t really my favorite flavor of Depeche Mode.

San Cisco – Lost Without You. The first new song from this Australian trio since their 2020 album Between You & Me is a typically bouncy alt-pop track with witty lyrics that offer a dark contrast to the music. The video, which stars the three in a Sting-like gangster film, is worth a watch.

Demob Happy – Voodoo Science. I was unfamiliar with Demob Happy, who’ve been around for fifteen years, before hearing this track, but I love the guitar riffing here, which reminds me of Porcupine Tree’s heavier moments.

shame – The Fall of Paul. This London-based post-punk band’s Food for Worms dropped last month and the highs (“Fingers of Steel,” “Six-Pack”) are high but there’s too much filler where the band sound like they’re just fucking around, unfortunately.

slowthai – Feel Good. British rapper slowthai’s third album, UGLY, which supposedly stands for “U gotta love yourself,” drops on Friday. I find his music more interesting than appealing, as he’s crossing and mashing up a lot of genres but his technical skill as a rapper isn’t his strength. This is one of the better songs of his that I’ve heard.

Filed Under: Uncategorized Tagged With: 2023 in music, alternative, hip hop, indie, Music

→ December 22, 2022
→ By keith

Top 100 songs of 2022.

There was such a flood of new music in the last two months of 2022 that I struggled to keep up with it, even slipping a couple of new albums on my best of 2022 list that I’d only listened to in their entirety in the last couple of weeks. It’s a good outcome, though, as 2022 shaped up to be a better year for new music than I would have said it was coming out of the summer, and I had more songs to put on this list than I could fit (and no, I’m not going past 100, this is work enough for something that’s not my actual job). You can see my previous years’ song rankings here: 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012.

If you can’t see the Spotify widget below, you can access it here.

100. beabadoobee – 10:36. Beatrice Kristi Laus’s second album, beatopia, refers to a fantasy world she created for herself when she moved with her family from the Philippines to London at age 7. It’s a clear step forward in her songwriting and gets her out of the lo-fi world of her first record. This was my second-favorite track on the album, although “Last Day on Earth,” her one-off single from 2021, isn’t on the LP at all.

99. Stella Donnelly – How Was Your Day? The Welsh-Australian singer-songwriter Donnelly released her second album, Flood, this spring to positive reviews. This track’s witty lyrics, revealing the hidden layers behind that innocuous phrase, and sunny indie-pop make it the album’s best.

98. Young Guv – Nowhere at All. Ben Cook of the Canadian band No Warning released his third album as Young Guv early this year and then followed it up with this one-off jangle-pop single that reminded me quite a bit of last year’s debut record from Chime School.

97. The Linda Lindas – Tonite. I’ve been a bit surprised that the Linda Linda’s debut album Growing Up didn’t appear on any year-end rankings or roundups of the year’s best music that I found, given the hype around the teenage punk band a year or two earlier – and given how good they sound for a bunch of kids. This is a great, vibrant young punk album, just angry enough about the right stuff. I admit it’s not breaking a ton of new ground, but tracks like this one are pretty infectious and point to a promising future.

96. Arlo Parks – Softly. The only music Parks released this year was this track, which brings some electronic music elements to her lovely vocals.

95. Bartees Strange – Wretched. Strange’s second album, Farm to Table, is his big coming-out as a songwriter, bringing him out from under the shadow of his influences (notably the National). This track was one of the album’s standouts, a slower, mournful song that offers thanks to the people who stood by him when he was at his worst.

94. Jungle – Good Times. One of two songs Jungle released this year ahead of an album that didn’t appear in 2022, although I imagine it won’t be that much longer now that their summer/fall tour is over.

93. SAULT – Money. SAULT released six albums this year, five of them at the start of November. One of those five was Today & Tomorrow, the band’s most rock-oriented record to date, even bringing in some punk influences. You can hear it here, where they channel the 1970s punk act Death.

92. The Cool Greenhouse – Get Unjaded. I know this style of very English art-rock music with talk-sung lyrics isn’t everyone’s cup of tea, but where else would you find a couplet like “Googling questions like ‘Should I start microdosing?’/And ‘How come I’m standing outside Four Seasons Total Landscaping?’”

91. The Fashion Weak ft. Gruff Rhys – Welsh Words. I admit to some pro-Cymru bias here, but this song is both extremely catch and makes me laugh every time I hear it. Rhys is the lead singer of Super Furry Animals, who’ve recorded entire albums in Welsh, while the Fashion Weak are a new wave revival act whose second single, “Fly Fishing,” featured Miki Berenyi of Lush.

90. Superbloom – Falling Up. The first few seconds are sort of nonsense, the kind of thing the band will grow out of, but I like where the track goes afterwards as these over Nirvana fans expand beyond the well-crafted mimicry of their first album into something more original over the foundation of grunge revival.

89. Stars – Pretenders. Stars’ first album in nearly five years was typically lovely, if perhaps a bit unambitious, featuring plenty of back-and-forth vocals from the two lead singers. They bring an ethereal beauty even to upbeat rock tracks like this one, my favorite on the record.

88. All Them Witches – Hush, I’m on TV. According to Wikipedia, ATW released nine original singles in 2022 plus two covers, but no album. Anyway, I dig their heavy, stoner/blues rock sound, which settles in after the loud, layered riffing that opens this track before the buzzsaw hits in the chorus.

87. The Wombats – Everything I Love is Going to Die. The two best tracks from the Wombats’ 2022 album Fix Yourself, Not the World were both released in 2021, so even though the LP made my best-of-2022 list, this is the only song from the record on this year’s top 100.

86. Preoccupations – Ricochet. The best song from Preoccupations’ fourth album Arrangements is this track, which fuses their typical post-punk/early new wave sound with elements of early ‘90s shoegaze.

85. Porcupine Tree – Rats Return. “Harridan” was my favorite song on CLOSURE/CONTINUATION, but this is a close second, less ambitious but highlighted by the best guitar riff on the entire album, a dark, minor-key line that infuses the whole song with a sense of foreboding.

84. Cory Wong – Power Station. Wong released two albums in 2022, Wong’s Café in January and Power Station in April, with this, obviously from the latter album, sounding like something discovered in Prince’s archives from the early 1980s, just with a better guitar solo.

83. The Afghan Whigs – I’ll Make You See God. The Whigs have always been able to rock, but this track goes 0 to 90 in the opening seconds and never lets up – enough that it ended up in the video game Gran Turismo 7. The lyrics appear to be total nonsense, but man, this sucker rocks.

82. Gojira – Our Time is Now. Gojira put out the best metal song of the year – and it’s the only song they released all year, although I’m hopeful we’re getting a new Gojira album soon. It’s not my favorite Gojira song ever, but it might be their most accessible, if that’s possible.

81. Black Honey – Heavy. I didn’t love their previous single, “Charlie Bronson,” but “Heavy” is more the Black Honey I know and love, indie-rock with a strong melody crossed with a harder edge.

80. Crawlers – I Don’t Want It. Barely over two minutes long, this little earworm from the Liverpudlian quartet Crawlers is their best track to date and one of two strong singles from their second EP, Loud Without Noise, along with “Too Soon.”

79. Sports Team – The Drop. I could have put as many as five songs from Gulp! on this top 100, but ended up with two, adding this track because the main hook is so memorable, and it’s one of the more interesting tracks on the album because of the one right turn it takes at the bridge.

78. Killing Joke – Lord of Chaos. Jaz Coleman is 62, and with his age and seven years passing since Killing Joke’s last album, Pylon, I figured we were done getting new music from the band. Killing Joke defy labels as much as any artist I can think of – I suppose people who know Sparks’ music would say the same, but I don’t know their oeuvre as well – so it was sort of a pleasant surprise to hear this track and “Total” follow in the same heavy-rock vein as that last album, which gave us the incredible single “Euphoria.”

77. Band of Horses – Warning Signs. Band of Horses’ best songs can be pretty great, like “Is There a Ghost,” but I find their albums nearly always let me down, and this year’s Things Are Great was more of the same. This was my favorite track, although I think that’s probably because it reminds me of the way I want Band of Horses to sound all the time.

76. Melt Yourself Down – Balance. I admit to ignorance on Melt Yourself Down, and I need to explore their discography some more, as I liked what I heard from this year as they released their fourth album Pray for Me, I Don’t Fit In. Their music doesn’t just blend genres from around the world, but it does so in a frenetic fashion that holds my interest even when the song doesn’t have a great hook (“Nightsiren”). This was the best track from the album, with three great hooks in the vocals, the saxophone line, and the guitar riff around the 1:30 mark.

75. The Mysterines – Means to Bleed. The Mysterines released their debut album, Reeling, in March, but it didn’t include most of the great singles they’d released over the previous couple of years, like “I Win Every Time,” “Love’s Not Enough,” “Bet Your Pretty Face,” or “Gasoline.” The album has the right vibe, just without the highlights, although this and “Hung Up” are solid examples of their sound and their potential.

74. Jack White feat. Q-Tip – Hi-De-Ho. The Jack White/Q-Tip partnership that first appeared on record with A Tribe Called Quest’s swan song We Got It From Here … Thank You For Your Service continued this year with Q-Tip’s guest spot on this track from the first of White’s two albums released in 2022, Fear of the Dawn. The result here, based on an interpolation of Cab Calloway’s famous scatting phrase, is wonderfully weird and catchy, and by now you probably realize I give 5 bonus points to any track including Kamaal the Abstract.

73. Kid Kapichi – Rob the Supermarket. I can’t avoid thinking of this as some sort of late-stage capitalist response to the Clash’s anti-consumerist “Lost in the Supermarket,” while also marveling at how Kid Kapichi have taken the mantle that Alex Turner dropped somewhere in the late teens.

72. Freddie Gibbs feat. Moneybagg Yo. Gibbs is one of the best technical rappers going now, and pairs it with consistently interesting and often weird backing music; this track, the best from the regular edition of Gibbs’s $oul $old $eparately, shows off his rhyming speed and rhythm better than anything else on the record.

71. beabadoobee – Talk. The best track from beatopia has a little harder of an edge to the music and mixes her vocals up accordingly to pair with the walls of distortion in the chorus, along with the album’s best melody.

70. Talk Show – Cold House. Talk Show, unrelated to the Stone Temple Pilots offshoot from about twenty years ago, released two EPs this year; Touch the Ground had six songs, including last year’s “Underworld” and this track that encapsulates their blend of post-punk, new wave revival, and dark wave.

69. HAIM – Lost Track. I’ve never gotten the hype for HAIM, but man this song has a hell of a hook in the chorus, and it’s the perfect length for a song of this simplicity.

68. FKA twigs featuring Jorja Smith and Unknown T – darjeeling. I love FKA twigs and I love Jorja Smith, so I’m clearly in the target audience for this track from FKA twigs’ ~~album~~ mixtape, and indeed it’s Smith’s vocals that elevate the track.

67. Tei Shi – GRIP. Big year for songs/albums calling out the music industry’s more exploitative practices. Tei Shi pulled her 2021 album La Linda from streaming services after Downtown Records refused to pay her the remainder of her advance two years aft, er its release. “GRIP” is her diss track against that label and the industry as a whole.

66. Editors – Karma Climb. I was a little underwhelmed by EBM, Editors’ latest album and first with Blanck Mass (Benjamin Power) as a member, but the chorus on “Karma Climb” is extremely catchy and I think a good example of their early Interpol-esque dark indie sound.

65. Greentea Peng – Your Mind. Greentea Peng’s eclectic mix of styles can be very hit or miss, missing on “Stuck in the Middle” but hitting here on “Your Mind,” which incorporates traditional soul, jazz, and some rock guitar lines. Both appeared on her mixtape GREENZONE 108 this September. I wonder if it’s more than a coincidence that this song’s length is 4:20.

64. Sudan Archives – Home Maker. The opening track from Natural Brown Prom Queen, my #2 album of the year, fakes you out with a minute-long intro that almost sounds like someone pressed ‘record’ before anyone was ready, but it’s all a matter of building tension before Britt Parks starts up with her mixture of rap and vocals, and by the two-minute mark she’s shipped you back almost fifty years in time with her classic R&B sounds.

63. Sky Ferreira – Don’t Forget. I had forgotten, it turns out, as Ferreira released just one song between 2014 and 2022, 2019’s “Downhill Lullaby.” This track is supposed to herald the release of her long-awaited second album, Masochism, although it’s still unscheduled; if this is where her sound has evolved after the long layoff, into a darker version of synth-pop, I’m all for it.

62. Sprints – Literary Mind. Sprints released an EP earlier in 2022, Modern Job, featuring the title track and “Delia Smith,” while this single came later and might be their catchiest song to date, without losing any of their signature garage or punk elements.

61. Automatic – Skyscraper. Automatic released their second album, Excess, in June, and this third single from the record was actually the first of their songs I’d heard, a pulsing, dark synth-pop track powered by a prominent, wandering bass line.

60. Dry Cleaning – Don’t Press Me. I’m very sensitive to how a vocalist sings, and often it doesn’t even make that much sense to me. I don’t love the vocals from Dry Cleaning, even though that flat, almost toneless style of sing-talking doesn’t necessarily bother me from other singers, just as I can’t stand Porridge Radio’s whiny, cracking vocals. “Don’t Press Me” is a rare example where the vocals on a Dry Cleaning song aren’t enough to deter me from an outstanding Wire-ish track.

59. Hatchie – Quicksand. I was a little … not underwhelmed, but maybe just whelmed by Hatchie’s new album this year, as it seemed like the Aussie singer/songwriter might be stagnating; the best track was last year’s “This Enchanted,” followed by this song, both solid examples of her particular brand of dream pop.

58. CVC – Good Morning Vietnam. CVC have been gigging in Cardiff (that’s Wales) since before the pandemic but didn’t start releasing music until this year, when they dropped a couple of singles, including this odd mélange of psychedelic rock and ‘70s soft rock with a funk-adjacent bass line. “Docking My Pay” is also worth checking out if you like this track, as we wait for CVC to drop a full album.

57. Yard Act – Pour Another. Yard Act’s debut album The Overload dropped in January and its best songs had already appeared, including the superb title track and the peculiar “Payday,” leaving this as the best song from the band in 2022. I’ll forever compare them to Gang of Four, although here there’s a more joyous, almost silly vibe.

56. Crows – Garden of England. The standout track on Slowly Separate, bringing punk energy to their particular brand of hard-rock-verging-on-metal. I’d fly to London tomorrow for a Kid Kapichi/Crows double billing.

55. MUNA – What I Want. MUNA’s self-titled third album made a few best-of-2022 lists, although it didn’t quite make the cut for me. I do like their unabashedly poppy approach; I just feel like they’re often a little short in the hooks department. This was the best track on the record for me, and unsurprisingly I think the most acclaimed as well.

54. shame – Fingers of Steel. shame’s sophomore album Food for Worms is due out February 24^th, with this the lead single. I see them tabbed everywhere as “post-punk,” but I don’t think it fits; they’re an alternative rock act in the clearest sense of the word, working with dissonant sounds and unusual rhythms that will probably always keep them out of the mainstream. I’m also in awe of the fact that they named a song “Baldur’s Gate” after my all-time favorite CPRG series.

53. John-Allison Weiss – Different Now. Weiss’ first new music since coming out as non-binary & trans in 2017, and first for Get Better Records, was this aptly titled song that doubles as a bittersweet breakup track.

52. Death Cab for Cutie – Here to Forever. DCFC seem good for one real standout single on every album at this point, such as “Gold Rush” from 2018’s Thank You for Today and “Black Sun” from Kintsugi. That may not quite hit the highs of Codes and Keys or Transatlanticism, but I’d say this is pretty good for a band approaching the 25^th anniversary of its first album, and singing about mortality and surviving.

51. STONE – Waste. This Liverpool garage-punk band signed to Polydor earlier in the year and ended it with a banger of a six-song EP, highlighted by this abrasive track that starts angry and ends up furious.

50. Sam Fender – Alright. A tremendous non-album single from the Seventeen Going Under sessions, included in a live version on a bonus version of the 2021 LP released this summer. You’ll notice I don’t include many slower-tempo songs on these lists, especially ones that aren’t acoustic, so that should give you some sense of how much I like this.

49. Foals – Looking High. I thought Foals’ Life is Yours was just a big ol’ mess of danceable fun, but it didn’t receive the plaudits I expected, with a lot of criticism over the lyrics – which has never been a strength of Foals’ songwriter Yannis Philippakis. (“I see a mountain at my gates/I see it more and more each day.” Shades of Keats and Shelley there.) This or “Wake Me Up” vie for my favorite track on the album.

48. GIFT – Gumball Garden. A five-minute opus that starts out in shoegaze territory and then shifts almost to power-pop territory before turning back around on itself. Their album Momentary Presence has a lot of that combination, bigger melodies and faster tempos mixed with shimmering guitars and synths out of shoegaze.

47. Lizzo – About Damn Time. You may have heard this song. Special lists twenty-five different people as producers, and somehow, none of them was Nile Rodgers. This track is so chic Rodgers might as well have produced it and played guitar.

46. Kendrick Lamar feat. Sampha – Father Time. Mr. Morale and the Big Steppers is certainly ambitious, but it’s too long and inconsistent, which led me to leave it off my top albums of the year list. “N95” is solid, and “Auntie Diaries” has a truly incredible and necessary sentiment (although it contains a word best omitted, despite the message). This song was the real highlight for me, thanks to the chorus from Mercury Prize winner Sampha.

45. The Head and the Heart – Shut Up. Every Shade of Blue had its highs and lows for me, which is how I pretty much always feel about H&H’s albums, although I loved this song and “Virginia (Wind in the Night)” from their latest.

44. SAULT – Above the Sky. The best track from the best of the six albums SAULT released this year (Today & Tomorrow), incorporating rock elements into the sound they honed on their first four albums, including a guitar solo with distortion and reverb that evoke Hendrix. Also, it’s kind of nuts that SAULT has released eleven albums in three and a half years.

43. The Lathums – Say My Name. The Arctic Monkeys meet the Amazons? It’s anthemic, muscular rock, and I’m fine with that, even if it’s of a sort we’ve heard before.

42. Anxious – Call From You. It’s post-hardcore, emo, whatever, but with real harmonies, and that little guitar riff you hear in the intro is so unexpected from this subgenre that it has consistently brought me back to this song on a generally great album.

41. Just Mustard – Mirrors. So I’ve said many times I was never a My Bloody Valentine fan, even with their general critical acclaim and my own affinity for shoegaze, because I just hear waves of noise, not individual notes or chords. “I Only Said” is the exception, because there’s an actual melody to latch on to. If you made an even more accessible version of that song, you’d get “Mirrors.”

40. Danger Mouse & Black Thought feat. MF Doom – Belize. Of course, I had to include this track from Cheat Codes, as it’s probably the final recording to feature the late MF Doom (a.k.a Zev Love X), although it’s hard to single out any particular tracks on the generally excellent DM/BT collaboration.

39. Young Fathers – I Saw. The Mercury Prize winners will drop their fourth album, Heavy Heavy, early in 2023, and from the first three singles it looks like we’re in for even more musical experimentation. This was by far my favorite of the three, though, as there’s a hint of their rap origins and a rising sense of indignation as the song progresses.

38. Belle & Sebastian – Unnecessary Drama. I don’t know why people get upset when Belle & Sebastian rock out a little, or hit the dance floor, as long as their essential Belle-and-Sebastian-ness is intact. Stuart Murdoch’s wry, sardonic lyrics are still here, as are the band’s harmonies, so who’s to argue if they have a little more fun?

37. Gang of Youths – in the wake of your leave. I don’t think any album disappointed me more than angel in realtime., which had three incredible singles to tease it (“the angel of 8^th ave.” and “unison”) and nothing else of note. The rest of the record felt self-indulgent, even pretentious, and worst of all devoid of energy. But those three tracks … I’m not sure anyone has evoked early U2 so effortlessly.

36. Khruangbin feat. Leon Bridges – B-side. The collaboration that began two years ago with Texas Sun continued this year with Texas Moon, highlighted by this danceable, soulful, and of course jazz-inflected single.

35. The Beths – Expert in a Dying Field. The title track from my #1 album of 2022 is just a perfect Beths song, shiny and bright and poppy and just a little dark around the edges.

34. Sunflower Bean – I Don’t Have Control Sometimes. Sunflower Bean had a moment this year, pun intended, with “Moment in the Sun” appearing in the final episode of Netflix’s Heartstopper, and their latest album Headful of Sugar had a number of similarly melodic lo-fi gems, including this one, which hits you with the melody right out of the chute.

33. The Smile – Thin Thing. The more I listened to the Smile’s debut album, the less I liked it, finding it experimental in some ways but often exactly what you’d expect if you smushed Jonny Greenwood’s soundtrack work with Thom Yorke’s vocals and the drummer from jazz group Sons of Kemet. It turns out it’s not that interesting. This track has the most to offer, starting with that odd syncopated guitar line that opens the song and moves on through it.

32. Blossoms – The Sulking Poet. Good luck getting this chorus out of your head. It’s a bit of Lord Huron, a bit of Head and the Heart, a bit of the Kooks, and oddly American-sounding for a band from Stockport, England.

31. Everything Everything – Bad Friday. If you liked Everything Everything’s early work, like “Cough Cough,” “Kemosabe,” “MY KZ UR BF,” and so on, this would likely be your favorite song from their newest album Raw Data Feel. It’s their most frenetic, most freewheeling track on the record, and we get more of the falsetto vocals that show up on just about all of their best songs.

30. Megan Thee Stallion – Her. I think Megan Thee Stallion is in the uppermost echelon of rappers today when it comes to speed, flow, and verbal dexterity, but I don’t think she picks music that does enough to accentuate her skills – or at least to work with them to make better songs. Only this and “Plan B” really stood out to me from Traumazine as songs that worked on all levels, from rhyme to music.

29. Rina Sawayama – This Hell. Sawayama’s second album, Hold the Girl, sees the singer/songwriter leaning far more into her pop sensibilities, which means it lacks the edge or ambition of her debut record, but also has a few more mainstream-ready tracks like this one. It’s her most overtly pop song yet, opening with a trite callback to Shania Twain and passing through a number of popular catchphrases and allusions, but highlights her idiosyncratic blend of styles and ability to craft a memorable hook.

28. Kae Tempest and Grian Chatten – I Saw Light. A spoken-word track over a hypnotic, minimalist synth line that sees the English poet/rapper Tempest sharing the vocals with Fontaines D.C. singer Chatten. Tempest’s lyrics are superb – a song like this can’t succeed without that – and the sparse music behind them creates a forbidding mood without getting in the way of the two speakers.

27. Griff & Sigrid – Head on Fire. Griff is a rising superstar, taking home a couple of Brit Award nominations last year shortly after she turned 21 (including Best New Artist, which she lost to Little Simz … who won for her fourth album), while Sigrid is already a star in Europe, so it was a little disappointing to see this track, with its catchy-as-hell chorus, fare poorly on the charts even in their home countries.

26. White Lies – Trouble in America. A bonus track on the deluxe edition of As I Try Not to Fall Apart that should have made the record proper given how potent this chorus is. It’s one of my favorite tracks ever from White Lies, six albums in, with some tremendous bass work from Charles Cave.

25. Phoenix feat. Ezra Koenig – Tonight. The best track on Phoenix’s fun, straightforward new album Alpha Zulu, which had a few other standouts, including “All Eyes on Me.” This one features Vampire Weekend lead singer/founder Koenig, but I like it anyway.

24. Christine and the Queens – Je te vois enfin. The best track from Redcar les adorables étoiles (prologue) recalls the dark pop sounds from his 2020 EP La Vita Nuova and even parts of his 2018 album Chris.

23. Soccer Mommy – Shotgun. My favorite track from Soccer Mommy’s acclaimed album Sometimes, Forever has some of her strongest vocals – I find her voice can be droning, but here it’s well paired with the music and comes off as more ethereal and dreamy than whiny.

22. Little Simz – Angel. Simz won the Mercury Prize in October for Sometimes I Might Be, my #1 album of 2021, and then released NO THANK YOU, a simpler album that excoriates the music industry,twomonths later. This opener is a six-minute polemic against the exploitation Simz faced over the last year-plus since her magnum opus was first released, although I found in general NO THANK YOU doesn’t have the same degree of musical ambition as the preceding LP.

21. Mandrake Handshake – Emonzaemon. This Oxford-based psychedelic rock band released their second EP, The Triple Point of Water, last month, with three songs that run a total of nearly 20 minutes. I could see them being big on the jam-band circuit with this sound and those running times, but that’s not to dismiss the great guitar lick that opens this track and carries it all the way through until the heavier guitars kick in for the last thirty seconds.

20. Lizzo – 2 Be Loved (Am I Ready). The best track on Special is the one that calls back to Prince both in title and in sound, which couldn’t have been more tailor-made for me.

19. Momma – Speeding 72. There’s a big Veruca Salt vibe to the vocals on this track, but mixed with fuzzier garage-rock production and some heavier bass work from a band that likes to employ the drop-D tuning more associated with metal acts.

18. The Reytons – Avalanche. Sometimes I just want a big, crunchy rock song that announces its presence with authority in the opening seconds and never lets up on the gas pedal until it’s done. So I give you “Avalanche.”

17. Sharon van Etten – Mistakes. As with Soccer Mommy, van Etten’s vocal style often grates on me – she sounds stoned or just disinterested on so many of her songs – even when I like her music. Here she belts it out on the earworm chorus, maybe the best hook she’s ever crafted.

16. Kid Kapichi feat. Bob Vylan – New England. Vylan is the perfect collaborator for Kid Kapichi’s style of bitter, sarcastic attacks on modern British society between the duo’s track “GDP” last year and Kapichi’s … well, their entire catalog to date. “You’re such a fool, Britannia” probably wouldn’t get anyone many votes but it’s certainly sums up the Brexiteers.

15. Wet Leg – Angelica. I know “Chaise Longue” and “Ur Mum” have earned more plaudits, and the former was a legitimate commercial breakout track, but this is their best song by a mile – it’s got a better hook, the sonic interplay between the two vocalists works far better here than on other tracks, and this time the lyrics are actually funny.

14. Spiritualized – The Mainline Song. Everything Was Beautiful, the space-rock pioneers’ first new album in four years and only their second in a decade, came out in April, highlighted by this gorgeous, textured, melancholy song, the only flaw in which is that it could use some additional lyrics.

13. Let’s Eat Grandma – Levitation. I understand this band’s name (think “eats, shoots and leaves”) but it still kind of bugs me. They can write a pretty great synth-pop song, though.

12. Lucius – Next to Normal. One of the year’s best bass lines came on this funky track from Second Nature, Lucius’ first album of new material since 2016.

11. Metronomy – Good to Be Back. What a weirdly happy, bouncy song – it feels like someone slipped it into the TARDIS in the early 1980s, from the new wave-y sound to the sparse production, but that main synth line is so catchy it would fit in any era. The song is so good that Panic Shack’s punk cover of it works just as well.

10. FKA twigs feat. rema – jealousy. The best track from CAPRISONGS includes the Nigerian “Afrorave” singer Rema and has a swirling, Afrobeat-like backdrop to the vocals that feels immersive even with a too-short running time below three minutes.

9. Riverby – Chapel. Riverby is a punk act from Philly, but this song from their latest album Absolution is an absolutely gorgeous ballad that showcases lead singer/guitarist August Greenberg’s beautiful voice. I’d take a whole album made out of this, thanks.

8. Blossoms – Ode to NYC. The most Lord Huron-ish track on Ribbon Around the World also feels like the replacement for Ryan Adams’ “New York, New York.” As someone who grew up in the suburbs of the Big Apple, I was never not in love with New York City, but I’m also always happy to sing along with praises of my favorite place in the U.S.

7. Mattiel – Lighthouse. There are two great hooks in this track, both driven by the powerful voice of lead singer Mattiel Brown, from her new album Georgia Gothic. It reminds me a ton of Swing Out Sister’s breakout hit … uh, “Breakout,” from 1986, which I mean as a high compliment.

6. Jamie T – The Old Style Raiders. In a year when the Arctic Monkeys gave up on rock, we didn’t lack for artists stepping in to fill the void they’ve left behind, from the Lathums to the Reytons to Kid Kapichi, along with this track from British star Jamie T, whose 2022 album The Theory of Whatever hit #1 in the UK.

5. Sports Team – Dig! I loved Sports Team’s new album Gulp! and this is the song I keep coming back to. If I were a big-league reliever, I’d warm up to this track, which brings huge energy with the initial bass line and that three-chord riff, like someone put a cinder block on the gas pedal.

4. Sudan Archives – NBPQ (Topless). The best track from my #2 album of the year refers to that LP’s title, Natural Brown Prom Queen, and wanders through what feels like three different genres while always coming back to the tagline from the chorus, “I’m not average.” She’s anything but.

3. The Beths – When You Know You Know. If anyone ever asked me why I like the Beths so much, I’d just play this song, which has everything that makes them great: a big hook in the chorus, sunny vocals with a great harmony, witty lyrics, and jangly guitars. Almost all of Expert in a Dying Field is like this, but here everything comes together perfectly for the best song the Beths have ever recorded.

2. Spoon – Wild. Man, Lucifer on the Sofa did not live up to this single at all, but for three minutes it felt like we had peak Spoon again. That simple, sparing guitar line in the verse feels like a rubber band about to snap, and the song never quite lets out that tension. I liked the previous single, “The Hardest Cut,” as well, but the rest of the record was just filler after these two songs.

1. Bartees Strange – Heavy Heart. What’s the opposite of the sophomore slump? Strange’s debut album was solid, and promising, but also limited, and it seemed like he might just be another indie-rock singer/songwriter who had a distinct voice but whose music sounded like too much else from indie/college radio of the last decade or so – notably his primary influence, the National. Instead of continuing in that vein, we got Farm to Table, a wide-ranging, genre-skipping, guitar-driven record with sensitive, introspective lyrics, led by this song, which feels like two for the price of one, punctuated by that giant guitar break just after the two minute mark that I would bet brings the house down when he plays it live. I had Strange in the wrong category after the first record, figuring I’d respect his music more than I liked it. His growth as a musician and lyricist is one of the great stories of music in 2022.

Feel free to throw any of your favorites – songs, albums, EPs, mixtapes – in the comments!

Filed Under: Uncategorized Tagged With: 2022 in music, alternative, hip-hop, indie, Music, rankings

→ December 21, 2022
→ By keith

Top 22 albums of 2022.

I don’t think 2022 was as strong for albums as 2021 was, where I could have run 30 deep on the rankings, but I had enough that I could keep up this gimmick of ranking a number of LPs equal to the last two digits of the year, and even made a few cuts in the final go. I know streaming has sort of killed the album in a sense, and I’m partly to blame as someone who generally prefers listening to specific songs over full records, but I also appreciate the artist’s vision for an album and am happy to support that in a tiny way here, even if it’s just “I like this collection of songs.” Honorable mentions include Everything Everything’s Raw Data Feel, Foals’ Life is Yours, and the Mysterines’ Reeling (which would have made the cut if they’d included more of their early singles), MUNA’s MUNA, Little Simz’s NO THANK YOU (released just five days ago, and very good, but I need to listen to it more), and beabadoobee’s beatopia.

You can see my previous year-end album rankings here: 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, and my top albums of the 2010s. My top 100 songs of 2022 will go up in the next day or two.

22. Elder – Innate Passage. A very last-minute addition to the list, as Ian Miller of Kowloon Walled City recommended this LP to me over the weekend, and, since he knows my tastes pretty well, it hit its mark. Elder is a progressive metal band with heavy stoner/doom elements to their music, and this album, their sixth, is their first with vocalist/guitarist Nick DiSalvo as the only remaining founding member. It’s just five tracks and runs 53 minutes, with a solid mix of proggy metal riffing, tempo and tone changes, and even some harmonies in the vocals.

21. Sunflower Bean – Headful of Sugar. I feel like Sunflower Bean are a post-hype prospect at this point; the music press seem to have moved on, or decided the band isn’t going to hit its ceiling, rather than appreciating them for what they are and for the potential they still have. Their brand of sunny jangle-pop with a little bit of garage to it might be a little familiar, but they offer a perfect slice of it on this album. Highlights include “Baby Don’t Cry,” “Who Put You Up to This?,” “I Don’t Have Control Sometimes,” and the bonus track “Moment in the Sun,” a one-off single they added to the album after it was used in Heartstopper.

20. Porcupine Tree – CLOSURE/CONTINUATION. Porcupine Tree returned after a 12-year hiatus as if they’d never left, still proggy after all these years, but without becoming overindulgent as the genre often sees. Founder Steven Wilson has produced three Opeth albums in the interim, and Porcupine Tree previously toured with the prog-metal giants, so it’s hard not to hear the latter’s influence here in some of the strongest guitar riffing. Highlights include “Harridan,” “Chimera’s Wreck,” and “Rats Return.”

19. Danger Mouse and Black Thought – Cheat Codes. Hard to believe, but this was Danger Mouse’s first hip-hop album in 17 years, since the last Danger Doom collaboration with the late MF Doom, whose vocals appear on the track “Belize.” This is peak Black Thought, with solid contributions from Danger Mouse, although the producer gets first billing here. Highlights include “Belize,” of course, as well as “The Darkest Part” and “Aquamarine.”

18. The Wombats – Fix Yourself, Not the World. A return to form for the Wombats after the uneven Beautiful People Will Ruin Your Life, the band’s fifth album veers more into an overt pop direction than their best LP to date, Glitterbug, but doesn’t skimp on the witty lyrics or shifts in tone and tempo. The EP they released in November of tracks that didn’t make the album, Is This What It Feels Like to Feel Like This?, has six more songs in a similar vein, several of which probably should have made the cut. Highlights from the LP include “If You Ever Leave, I’m Coming With You,” “Everything I Love Is Going to Die,” and “Method to the Madness,” the last one of the most ornate songs the group has ever released.

17. Belle & Sebastian – A Bit of Previous. The Scottish indie stalwarts’ first new album in seven years, although they’ve released three EPs in the interim, A Bit of Previous doesn’t abandon the sunnier pop melodies and sounds of their last record, the effusive Girls in Peacetime Want to Dance, although it’s a bit darker in tone and lyrics. Highlights include “Young and Stupid,” “Talk to Me Talk to Me,” and “Unnecessary Drama.”

16. Lizzo – Special. No record surprised me more than Lizzo’s Special, since I was certainly familiar with her work and her impressive voice, but never connected with her music at all. On her fourth album, Lizzo produced an ebullient record full of musical callbacks to pop, disco, and funk from the 1970s and 1980s, along with more than a little nod to Prince here and there. I guess we’ll always have to wonder what that never-made Lizzo EP that Prince was slated to produce would sound like, but I’d like to think we got some of that sound on Special. Highlights include “2 Be Loved (Am I Ready),” the #1 single “About Damn Time,” “The Sign,” and “Everybody’s Gay.”

15. Anxious – Little Green House. The debut full-length from this Connecticut quintet, which draws on emo and punk with a real dose of pop hooks and harmonies, was one of the best straight-out rock records of the year, and would have fit in quite well on a best-of list from 20 years ago at the height of emo and the absurdly titled “screamo” subgenre. There is a decent bit of screaming here, some of which I could have done without, as there’s plenty of dissonance coming from the guitarwork. The album is a raucous joy straight on through until the shocking closer “You When You’re Gone,” a slow song (!) with vocals from Stella Branstool of Hello Mary. Highlights include that track, “In April,” “Call from You,” and “Afternoon.”

14. Freddie Gibbs – $oul $old $eparately. Gibbs might be the best technical rapper going now, and he is certainly the most interesting, doing far more with the music over which he rhymes than anyone else I can think of. He has a host of guests on this sprawling, hour-long record, including Anderson .Paak, Raekwon, Pusha T, Musiq Soulchild, and Scarface. Highlights include “Too Much,” “Feel No Pain,” and “Dark Hearted,” as well as “Big Boss Rabbit” from the bonus edition.

13. Bartees Strange – Farm to Table. Strange’s sophomore album finds him leaning even more into his trad-rock side, and away from the comparisons to one of his inspirations, The National. The glimpses we had of the real Bartees on his debut are the dominant theme here, with great hooks and wistful lyrics about small things like the meaning of life and the prevalence of death. Highlights include “Heavy Heart,” “Wretched,” and “Black Gold.”

12. White Lies – As I Try Not to Fall Apart. Wikipedia calls White Lies a “post-punk revival” band, but this is new wave, and I will not stand for any erasure of that genre. (Get it? Erasure? Never mind.) Their sixth album feels like a culmination, as if they’ve truly identified their sound and have been working towards this for several records now, with previous albums having similar highlights (“There Goes Our Love Again” from Big TV, “Tokyo” from Five) but lacking this one’s depth and consistent quality. The contrast of melancholic lyrics and darkly joyous music is the strongest callback to 1980s new wave, and it’s practically pandering to an audience of me. The bonus edition includes four more tracks, including the outstanding “Trouble in America.” Highlights include the title track, “Am I Really Going to Die,” “I Don’t Want to Go to Mars,” and “Step Outside.”

11. Crows – Beware Believers. I was surprised how little press this sophomore album from Crows received, given the positive reception for their 2019 debut record Silver Tongues. Crows get billed as a punk band, but that sells them short – they’re a hard rock band in the old style, writing heavy, grinding tracks with distorted guitars, big riffs, and no pretense. Highlights include the title track, “Garden of England,” “Healing,” and “Closer Still.”

10. Christine and the Queens – Redcar les adorables étoiles (prologue). Redcar is Christine & the Queens’ latest nom de plume, after he used Chris on his last album and briefly used the name Rahim last year. It’s a breakup album, at least off the lyrics, but the music is anything but depressing. He backs up these tracks about a lost love (or loves?) with soulful music that draws on pop, soul, even elements of jazz. Highlights include “rien dire,” “Ma bien aimée bye bye,” and “Je te vois enfin.”

9. Just Mustard – Heart Under. This Irish shoegaze band showed promise on their 2018 debut album Wednesday, but this album carves out its own post-shoegaze sound, with the same droning guitars but without the inscrutable walls of sound that made My Bloody Valentine critical darlings whose music I couldn’t abide. Highlights here include “Still,” “23,” “Mirrors,” and “I Am You.”

8. Sports Team – Gulp! Coming in at a scant 33:41, this barely full-length record from Sports Team, the band’s second, is ten tracks of raucous, fun, art-punk-inspired rock-and-roll. It gets off to a strong start with “The Game” and never lets up, with hooks and big energy all the way through. Highlights include “Dig!,” “The Drop,” “The Game,” and “R Entertainment.”

7. White Lung – Premonition. The newest album on the list, released just two weeks ago, is also the swan song for this Vancouver punk-metal band, as lead singer Mish Barber-Way decided to call it quits after having her second kid last year. (She’s also apparently still executive editor of Penthouse.) Premonition has apparently been in the works since 2019, but baby #1 and the pandemic pushed the record back, so while they’re going out with a bang, it appears this is the end for this underappreciated act. Highlights include “Tomorrow,” “Date Night,” and “Bird.”

6. Kid Kapichi – Here’s What You Could Have Won. In a year when the Arctic Monkeys confirmed for us all that they’re no longer a rock band – and some critics seemed unwilling to point out that Alex Turner has no clothes – Kid Kapichi are here to take up the mantle of guitar-driven rock with intelligent, sardonic lyrics, here taking aim at the popular targets of those disaffected with late-stage capitalist Britain. Kid Kapichi start off making it very clear where they stand on the snarling opener “New England” – which is not about the changing of the leaves in Vermont – featuring Bob Vylan, and the rage never really slows from there, not even for the acoustic “Party at No. 10.” Highlights include “New England,” “Rob the Supermarket,” “Super Soaker,” and “Cops and Robbers.”

5. SAULT – Today & Tomorrow. SAULT released six albums in 2022, five of them on one day in November. Each of the five explored a different genre or style, with Today & Tomorrow, my favorite of the set, finding the secretive London-based group delving into rock and punk sounds for the first time. Highlights include “The Plan,” “Lion,” “Money,” and “Above the Sky.” If you’re curious about the others, I’d rank the five albums Today & Tomorrow, Earth, 11, Aiir, and God, in order from best to worst.

4. FKA Twigs – CAPRISONGS. She calls this a mixtape, but it’s 17 songs and 48 minutes long. It’s an album. It’s uneven, both in quality and theme, less cohesive than her album Magdalene, but the highs are very high here, and FKA Twigs (Tahliah Barnett) experiments more with tones and styles than on her formal LP. Highlights include “honda,” “darjeeling,” and “jealousy.”

3. Yard Act – The Overload. Thedebutrecord from these likely lads from Leeds might as well be a spiritual sequel to the earliest work of Gang of Four or maybe a lost album from The Fall, but updated with occasional flourishes of hip-hop (which, I concede, don’t always work) and a more modern take on the working class progressivism of their forebears. Highlights include the title track, “Payday,” “Pour Another,” and “The Incident.”

2. Sudan Archives – Natural Brown Prom Queen. Sudan Archives is violinist/singer Brittney Denise Parks, who released her second LP this year to massive and well-deserved acclaim. It’s a genre-bending, world-spanning record that features abrupt tonal shifts within and between songs, lyrics that are by turns smart and frivolous, and a whole bunch of songs that just plain groove. Highlights include “NBPQ (Topless),” “Yellow Brick Road,” the sinister-sounding “Homemaker,” and “Freakalizer.”

1. The Beths – Expert in a Dying Field. This is the album I’ve been waiting for the Beths to make since I first heard “You Wouldn’t Like Me” back in 2018. Expert in a Dying Field is a perfect exemplar of this New Zealand band’s sunny take on power-pop, with perfect harmonies and an endless supply of melodies. They call back to ‘80s power-pop standouts like Jellyfish and Apples in Stereo while adding their own stamp, not least from lead singer/guitarist Elizabeth Stokes’ delightful accent. There’s enough diversity in the tracks here to make it worth listening all the way through, but it’s also the best collection of singles I heard in 2022. Highlights include the title track, “When You Know You Know,” “Knees Deep,” and “Silence is Golden.”

Filed Under: Uncategorized Tagged With: 2022 in music, alternative, hip-hop, indie, metal, Music, progressive metal, rankings

→ December 2, 2022
→ By keith

Music update, November 2022.

A shorter playlist this month, although that doesn’t quite reflect the month in music, since a number of artists on this list released new albums in November. The next music posts from me will be my year-end albums and songs rankings, which I’ll probably run the week of December 19^th. As always, if you can’t see the widget below you can access the playlist here.

SAULT – God in Disguise. SAULT released five new albums on November 1^st, offering them as a free download for five days through their site, but they’re also now all on streaming platforms. I haven’t even gotten through two of them, but there’s far more of the soul, funk, and R&B influences that were all over their first four albums and absent from this spring’s Air.

Metronomy – It’s Good to Be Back. So this song came out earlier in the year, and I missed it, only hearing it because the cover of the song done by the punk band Panic Shack showed up on my Spotify Release Radar. The cover borrows the basic chord pattern and vocals, but it’s nothing like this shimmering, sunny pop track. When Metronomy stays on the right side of the line, they put out some great pop melodies.

White Reaper – Pages. Just about anything new from White Reaper is an auto-include for me. These Kentucky garage-pop stalwarts will release their fourth album, Asking for a Ride, on January 27^th, but it sounds like their core sound hasn’t changed one bit.

Black Honey – Heavy. The third single ahead of their upcoming third album, A Fistful of Peaches, due out in March, this is less abrasive and more melodic than “Charlie Bronson” but still harder-edged than most of their first two albums.

Jamie xx – KILL DEM. Still no official word on a follow-up to 2016’s In Colour, which included two of the best songs of the decade in “Loud Places” and “SeeSaw,” although this is Jamie xx’s second new single of 2022. It’s more EDM than either of those tracks from In Colour, both of which slowed the tempo down for more melody and vocal elements.

Phoenix – All Eyes on Me. Also on my to-do list is Phoenix’s new album, Alpha Zulu, which came out in early November, although every song I’ve heard has brought their Wolfgang Amadeus Phoenix heyday of effusive indie-pop to mind, and it feels like a step forward after 2017’s Ti Amo.

Crawlers – Too Soon. Another heavy, grimy track from this Liverpool quartet, who just released their first EP, Loud Without Noise, at the start of November, featuring this track and “I Don’t Want It.”

The Wombats – Good Idea at the Time. Yet another solid track from the leftovers EP Is This What It Feels Like to Feel Like This?, which has songs that didn’t make the cut for February’s Fix Yourself, Not the World.

shame – Fingers of Steel. A post-punk band from south London, shame (stylized in all-lowercase) will release their third album, Food for Worms, in February. The track has clear roots in early post-punk but with more elements of post-hardcore music like that of Quicksand or Thrice.

Weird Nightmare – So Far Gone. The debut album from METZ guitarist Alex Elkins, also called Weird Nightmare, dropped back in June, and he’s already back with another new track, which continues in the same vein of garage-pop that’s more melodic than METZ’s stuff.

Panic Shack – Meal Deal. Remember when I mentioned Panic Shack up top? Here’s their latest single, a raw, wryly comic punk song with some de rigueur commentary on consumerism.

STONE – Money (Hope Ain’t Gone). I exclude EPs from my year-end album lists now, but I will say STONE’s debut EP punkadonk is one of my favorite records of the year. It’s just five tracks, but this one and “Waste” are both excellent, and the Liverpudlians show some range here beyond just pure punk.

Venomous Concept – Voices. I’m not usually into super hardcore punk, but this song is on the accessible side of that genre, and the band is interesting, as it was founded in 2004 by former members of Brutal Truth and Napalm Death and once included Buzz Osborne of the Melvins.

Wheel – Impervious. This Finnish prog-rock act released a three-song EP in November called Rumination, although there’s no word yet on a new album.

Filed Under: Uncategorized Tagged With: 2022 in music, alternative, indie, Music, post-punk, progressive metal

→ November 2, 2022
→ By keith

Music update, October 2022.

October was a big month for new releases, but the one I was probably most excited to hear, Arctic Monkeys’ The Car, was a huge, boring disappointment. I wasn’t that enamored of the new albums from Dry Cleaning or Alvvays, to say nothing of larger acts like Taylor Swift or Tegan & Sara. But for lesser-known acts it was a great month, including a bunch of artists I heard for the first time. As always, if you can’t see the widget below, you can access the playlist here.

https://open.spotify.com/playlist/6K4bRVCxkcTXo4TrMkqT2q?si=72309fd0f0b54e64

Anxious – Where You Been. This Connecticut punk quintet just dropped their first full-length, Little Green House, and it’s one of the year’s best records, including the 2022 single “In April” (#76 on my top songs of 2021 ranking), “Sunsign,” “Call from You,” and “Let Me.” It’s hard-edged but with a strong melodic sense, too heavy to be punk-pop but too rough-and-ready to be post-punk.

The Lathums – Say My Name. Anthemic indie rock from Wigan, reminiscent of the Amazons but maybe a bit less slick? Their debut album came out last September, but this is the first track from them I’ve heard, from their upcoming LP From Nothing to a Little Bit More, due out February 24^th.

The Reytons – Avalanche. That opening riff … it’s Royal Blood, Turbowolf, the Amazons, Death from Above 1979. I can see why this south Yorkshire band are rising stars in the UK. As with the Lathums, they’re new to me, but had an album out last year called The Kids Off the Estate; this is from their upcoming album What’s Rock and Roll?

The Rills – Landslide. Merseyside lads who nod to the Arctic Monkeys and the Libertines as their primary influences. The B-Side, “Spit Me Out,” is almost as good, and maybe the title is a nod to the refrain of the Monkeys’ “Fake Tales of San Francisco?”

Crawlers – I Don’t Want It. This Liverpool band reminds me quite a bit of their neighbors The Mysterines, both led by women singers with powerful voices and crunchy guitar rock behind the vocals.

Black Honey – Out of My Mind. I’ve been on Black Honey’s wavelength since day one, with “Hello Today,” and this track reminds me of a few of their earliest tracks, with a crisper melody and less of the harder edges (which also work) from their second album or this year’s “Charlie Bronson.”

CVC – Good Morning Vietnam. That opening melody line sounds familiar to me, like it might be almost borrowed from something else, but I’m still in on this new Welsh band’s updated psychedelic rock sound.

Inhaler – Love Will Get You There. I feel like Inhaler has produced enough good new music that we can stop talking about who anyone’s father is, although if you listen to any of their tracks you’ll probably realize how much the lead singer sounds like his dad. I love how their sound feels like an evolution of you-know-who without sounding derivative; here it sounds like they’ve been listening to a bit of Lord Huron, incorporating that kind of folk-rock shuffle into their normal style.

Autre ne Veut – Okay. Arthur Ashin’s first new music in seven years, “Okay” is a lovely track that somehow manages to sound lush without coming off as overwritten or overproduced. Critics tend to describe their music as some form of R&B, but I think that sells it a bit short, with jazzier elements and more electronic work in the backdrop.

Cumulus – Teenage Plans. “Can you please slow it down?/It’s too much change to take.” There are so damn many songs about being a teenager and trying to slow down time to appreciate the moment – or being older and wishing you’d thought more like that when you were that age – that it’s rare for something else to break through the monotony, but this new track from Alexandra Lockhart does so, notably with the melody in the chorus.

John-Allison Weiss – Feels Like Hell. I think I liked Weiss’ previous single, “Different Now,” better, but this is also some great indie-pop ahead his 2023 album The Long Way.

The Wombats – I Think My Mind Has Made Its Mind Up. The second track from the Wombats’ forthcoming EP Is This What It Feels Like to Feel Like This?, which will be their second release this year after the full-length LP Fix Yourself, Not the World, which all puts them on track to put out the most good new music of any band this year.

Sports Team – Fingers (Taken Off). Gulp! is one of my favorite albums of the year so far, the second full-length album from this London band who just sound so very English between the vocals and the offbeat lyrics.

The Cool Greenhouse – Get Unjaded. Singer/lyricist Tom Greenhouse has a way with words and packs them into this tight post-punk track, talk-singing his way through a track that slithers like a tritone in search of its resolution.

The Go! Team – Divebomb. The Go! Team have been around for 22 years, so I’m rather remiss in that this was the first song of theirs I’ve heard. Their mix of samples and various pop styles reminds me a bit of the Space Monkeys’ “Sugar Cane” and the more contemporary Bad Sounds.

Young Fathers – I Saw. Heavy Heavy is due out on February 3^rd, with this the second very promising single from the Mercury Prize-winning trio, who’ve moved away from their original alternative-rap style to a more experimental lo-fi electronic sound instead.

Archers of Loaf – Screaming Undercover. Reason in Decline is the first new album in 24 years from this Chapel Hill band, who had a brief run of critical success and built a cult following in the mid-90s with their hard-edged indie rock sound.

Crystal Axis – Black AF. This is the third single from Crystal Axis, a Nairobi Afro-punk band whose lyrics are a mix of Swahili and English. I found them via this BBC profile.

Pinkshift – nothing (in my head). One of two tracks from this Baltimore trio’s new EP i’m not crying you’re crying. If you wondered what Paramore would sound like if they didn’t suck, this is a pretty good approximation. The title track from the EP is solid too.

Quicksand – Felíz. Another remnant from the Distant Populations sessions, but man, if this is what you leave on the cutting room floor, you are doing something very right. This thing rocks with this giant muscular riff that frames the sludgy chorus, where they sound most like the post-hardcore icons they are. They’re on tour right now with Clutch and Helmet, in case you wanted to wonder what year it was.

Blessed – Anything. This Canadian art-rock band announced their second full-length album, Circuitous, and released this lead single, which has a very doom- or sludge-metal feel without the big crunch.

Gojira – Our Time Is Now. I’ve been listening to less metal overall this year, but I will stop traffic for a new Gojira song, and this track has a glorious opening followed by some intense riffing in the verse before the bottom-heavy chorus.

Filed Under: Uncategorized Tagged With: 2022 in music, alternative, hard rock, Music, post-punk, progressive metal

→ October 2, 2022
→ By keith

Music update, September 2022.

Lots of new music in September … but not a lot of great music, I think, even with two extremely strong new albums and a couple of others of note. As always, you can see the Spotify playlist here if you can’t see the widget below.

Kid Kapichi – Super Soaker. Two of my favorite albums of 2022 so far came out in September, including Kid Kapichi’s second album in the last 18 months, Here’s What You Could Have Won, which carries forward the harder-edged rock with Alex Turner-like lyrics but expands their musical palate somewhat, such as adding a guest appearance from Bob Vylan.

The Beths – When You Know You Know. And then there’s The Beths’ third album, Expert in a Dying Field, their best one yet, with more uptempo songs and a more consistent musical throughline over the entire album.

White Lies – Trouble in America. A tremendous track from the bonus edition of As I Try Not to Fall Apart, frankly a better song than several that did make the original LP.

Sports Team – Dig! Another banger from Sports Team, but unusual for them in that the vocals are far more conventional, and clearly play second fiddle to the driving guitar work.

Sprints – Literary Mind. These Dublin punks go a little more pop here, without losing any of their usual intensity, in what I think is their longest song yet.

Courtney Barnett – Words and Guitar. A cover of the Sleater-Kinney song from an upcoming album of covers of the band’s 1997 album Dig Me Out.

John-Allison Weiss – Different Now. This is the first new music from Weiss, who has previously recorded as A.W., since 2017’s “Runaway,” although their indie-pop sound is quite similar even after the five-year hiatus.

Editors – Vibe. Editors just released their seventh album, EBM, their first with Blanck Mass (Benjamin John Power) as a full-time member. The sound across the album is similar to what they’ve shown since their big stylistic shift around 2009-10 to something more electro-noir, with a heavy New Order influence. I also really liked “Karma Climb,” the first single from the record; and “Kiss,” which is great in the sub-4 minute single version but wears out its welcome at 8 minutes on the album.

The Fashion Weak feat. Gruff Rhys – Welsh Words. The debut single from a new Welsh band, with help from Super Furry Animals lead singer Rhys, with hilarious lyrics about songwriting advice from Joan Didion.

Freddie Gibbs feat. Moneybagg Yo – Too Much. Gibbs might be the best active rapper going, certainly in terms of flow and delivery, and just dropped his fifth album, the expansive $oul $old $eparately, on Friday. “Dark Hearted” and “Space Rabbit” are also highlights.

Phoenix feat. Ezra Koenig – Tonight. I like this song despite the intrusion of Vampire Weekend (via Koenig, their twee-voiced lead singer and songwriter).

Jamie xx – KILL DEM. The second new single this year from Jamie xx, whose In Colour was one of the best albums of 2015 and provided two standout tracks of the entire decade in “Loud Places” and “See Saw,” but who hasn’t put out another LP since. His solo work is electronica, but he’s also one of three members of the indie band the xx.

Quicksand – Giving the Past Away. A muscular new track from these post-hardcore icons, left over from the sessions for last year’s album Distant Populations.

Palm – On the Sly. A Philly art-rock outfit that’s been around for a decade, Palm just crossed my radar this month with this new track reminiscent of some of Battles’ better work.

WITCH – Waile. WITCH are legends of Zamrock, a musical style from the sub-Saharan country of Zambia that emerged in the 1970s, and were active from 1972-1984, by the end of which they’d moved away from rock and towards disco. This is a new recording of a song they played live in their heyday but never committed to wax. With the crossover success of Mdou Moctar, I could see WITCH (which stands for We Intend to Cause Havoc!) finding a new audience as they continue to tour.

Wheel – Blood Drinker. I’m a big fan of this Finnish prog-metal outfit, whether it’s their ten-minute, multi-section tracks or tighter radio-friendly ones like this one, primarily because of their guitarwork, both the sound itself and the intricacy of some of their guitar lines. This is the advance single from their upcoming EP Rumination, which follows last year’s full-length album Resident Human.

Filed Under: Uncategorized Tagged With: 2022 in music, alternative, hip-hop, Music, progressive metal, rap

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