January 2015 music update.

The whole top 100 prospects package is now up for Insiders, including:

• My ranking of the top 100 prospects in baseball, with capsule reports on each
• My ranking of all thirty farm systems from best to worst.
• Each team’s top ten prospects with a full farm report (that’s the index page; Tampa Bay’s report is free)
• Ten prospects who just missed the top 100

I got a complaint yesterday that one of the team reports wasn’t long enough. With over 48,000 words in the whole package, you can send any such criticisms to /dev/null.

January was a great month for new releases, especially tracks previewing albums coming in March or April. Here’s the Spotify playlist, with a note on each song coming up below:

Purity Ring – “Push Pull.” I didn’t love their first album, Shrines, but this lead single from their upcoming sophomore LP Another Eternity is a marvel, especially in Megan James’ lyrics, which seem to draw heavily from classical English poetry. “A fever billowed with the wind/And I bade the sky therein.” The music struggles to keep up with her vocals, at times sound like a weird remix the way the track doesn’t line up with her meter, but she could probably sing this a cappella and I’d still listen.

Wildhoney – “Molly.” This Baltimore shoegaze act, one of two Charm City bands on this playlist (along with Lower Dens), is signed to a Canadian punk label, but their music is more Curve, Swervedriver, and early Lush than Bad Religion or the Descendants. The tiny guitar line behind the vocals is the track’s separating factor, although I liked how the walls of guitars in the chorus referenced My Bloody Valentine without drowning out Lauren Shusterich’s vocals.

HOLYCHILD – “Running Behind.” The percussion lines remind me of tUnEyArDs’ “Water Fountain,” but with non-irritating vocals. My daughter loved this song on first listen, and I have a feeling it’ll be a quick crossover to pop radio, since it’s only “alternative” in the sense that it’s not popular yet.

The Districts – “Peaches.” Seems like my favorite fruit (especially for pie) is a popular topic for songs of late, including this new release that has some resemblances to the Hold Steady with its blues/roots-rock backing and sung-talked descending vocal lines. The whining guitar riff that parallels the vocals in the chorus strikes a fine balance between hooky and annoying.

Viet Cong – “Silhouettes.” I admit to being a little off from the consensus on this debut album featuring two of the three surviving members of Women, finding it very uneven, with lead single “Continental Shelf” missing my top 100 from last year. “Silhouettes” has a dark, Joy Division/Bauhaus kind of vibe but with harder guitar lines that made it the standout from their eponymous album, relased two weeks back on indie Super Tuesday.

Modest Mouse – “Lampshades On Fire.” It almost sounds like Johnny Marr never left. I never loved Modest Mouse before “Dashboard,” which I suppose means I’m not a True Fan or something, but also means I particularly like this new song’s rhythm – and as always there’s a lot of fun wordplay in the lyrics.

Coasts – “Oceans.” They’re going to be compared to Coldplay because their next single is called “A Rush of Blood,” but the similarity is just in the attempt to craft songs that feel anthemic with big climaxes of drums and shimmering guitars. Coldplay has its detractors, and I find their work frustratingly inconsistent, but they do write some pop hooks that prove indelible, something few imitators (save, perhaps, Bastille and Imagine Dragons) have been able to do. Coasts has a shot, though, based on these two singles, both of which came out last year in the UK.

Matt and Kim – “Get It.” Solid melody, weak lyrics, which unfortunately has been the duo’s formula for much of their careers.

Belle & Sebastian – “Nobody’s Empire.” I adore the first four tracks on this album, Girls in Peacetime Want to Dance, but it tapers off into maudlin material that is probably more authentic B&S but just not my style. “The Party Line” was my #3 track of 2014; “Nobody’s Empire” will likely rank very high for me on this year’s list.

A. Sinclair – “Suit Up.” From this Austin band’s October album Pretty Girls, this single kicks the door down with the intense introductory riff. I imagine they’d be fantastic to see live given how much energy comes through in their studio recordings.

Young Ejecta – “Welcome to Love.” Formerly known as Ejecta, this side project of Neon Indian’s Leanne Macomber – who is once again au naturel on the album cover – put out their second short album of ethereal, quietly melodic synthpop that highlights Macomber’s breathy alto.

Sleater-Kinney – “Price Tag.” The opener from their amazing comeback record, No Cities to Love, which I reviewed in January.

Tobias Jesso Jr. – “How Could You Babe.” I’m still not sure how much I like this mournful piano ballad, which is driven primarily by Jesso – whose debut album comes out in March – crooning the song’s title repeatedly. It’s been stuck in my head a few times already, though.

The Mowgli’s – “Through The Dark.” They may never do anything I like as much as “San Francisco,” but I do love this septet’s sound when the entire group starts singing in unison, practically begging you to join in. Their second proper album is due this spring.

Death Cab for Cutie – “Black Sun.” It seems like 2015 is the big year for comeback records from some of the biggest alternative acts of the aughts – these guys have been gone for four years, Belle & Sebastian for five, the Decemberists for four, Modest Mouse for six, and Sleater-Kinney for nine. “Black Sun” is very promising, especially the guitar interlude, which brought back to mind my favorite track from 2011’s Codes and Keys, “You are a Tourist.”

Lower Dens – “To Die in L.A.” Did they steal that guitar sound from Robert Plant’s “Big Log?”

Courtney Barnett – “Pedestrian at Best.” When she plugs in and there’s some real music to back up her brilliantly twisted lyrics, she’s among the best voices in independent/alternative music today, contorting the language into whatever shapes she desires, with brilliant imagery and incisive wit. Here’s hoping her next album continues what she’s started here.

Twerps – “Back to You.” Twerps, an Australian quartet who remind me in many ways of the Go-Betweens, seem to specialize in understated, pleasantly annoying pop tracks, a formula that works about half the time on their debut album Range Anxiety. Everyone’s raving over “I Don’t Mind,” one of the two longest tracks on the album, but the off-key singing and twangy, repetitive guitar licks work much better on songs half that length, as with the syncopated riff that powers this sunny bit of indie-pop.

Voivod – “We Are Connected.” Voivod’s 1989 album Nothingface had a huge influence on my tastes in music; at a time when “metal” largely meant the glam-rock derivative of hair bands, with Metallica the edgy alternative to Poison and Cinderella, Voivod – who toured off this album with two similarly unknown acts, Faith No More and Soundgarden – produced intelligent, aggressive, intricate songs exploring dark themes with lyrics that, if nothing else, moved beyond what was available on the radio in those pre-satellite, pre-web days. The band’s sound changed in the mid-90s with Negatron, going more toward death-metal growls and “groove” riffs; withh the 2005 death of original guitarist Denis D’Amour they will probably never recover their original vibe, but “We Are Connected” at least restores the clean vocals and spaced-out thrash sound that made them one of metal’s first real innovators.

And while I’m not going to put anything from Napalm Death’s upcoming album on the playlist (I’ve never been a fan of their brand of extreme grindcore), this piece on the letter that lead screamer Barney Greenaway wrote to Indonesian President (and Napalm Death fan) Joko Widodo is worth a read. Here’s hoping it succeeds in convincing Widodo to commute those two criminals’ death sentences.