Prospect season pushed this back about a week, but my monthly playlists are back, and this one is longer than usual because I have some tracks from late December as well. You can see the playlist here if you can’t see the widget below.
As for my use of Spotify, I’m leaning towards switching to another service, but in the middle of prospect-writing season, I didn’t have time to figure out the logistics of moving all of my playlists and information over – let alone deciding which service to use. I don’t think their responses so far have been adequate at all; putting a disclaimer before a podcast where the guest spends 2-3 hours spewing misinformation does nothing to stop the misinformation from spreading. That’s even before I get into more recent revelations of a Joe Rogan using the n-word dozens of times. I’ll get through the prospect reports and reevaluate where I put my money and where I ask you to listen to my playlists.
Gang of Youths – in the wake of your leave. I can’t wait for this Australian group’s third album, Angel in Realtime, which drops on February 25th. The title track was a top ten song of last year for me, and this one isn’t too far behind. There’s a lot of peak (1980s, not “Beautiful Day”) U2 in their music.
Khruangbin feat. Leon Bridges – B-Side. The collaboration that brought us last year’s EP Texas Sun returns with another EP this month called Texas Moon. This song is fantastic, but the second single from the EP, “Chocolate Hills,” was surprisingly boring.
Large Plants – The Death of Pliny. Large Plants is the new side project from Jack Sharp of Wolf People (not to be confused with Wolf Parade, Wolfmother, Wolfgang Press, or Wolf). This track is very late ’60s blues-psychedelia with some lovely guitarwork as a highlight.
Waxahatchee – Tomorrow. Katie Crutchfield did the soundtrack for the Apple TV+ adaptation of the graphic novel series El Deafo. This song feels very much like someone asked her to write the most upbeat song she could, and it’s great.
Camp Cope – Running with the Hurricane. I heard this song before knowing anything about the band, and was surprised to hear something so Americana-sounding from an Australian band. If you like Waxahatchee, I think this song might be up your alley.
Sprints – Little Fix. This Irish punk-garage quartet have churned out a series of hooky singles that don’t skimp on the noise elements, always with something a bit clever in the lyrics as well.
Frank Turner – A Wave Across a Bay. Turner’s tribute to Frightened Rabbit singer Scott Hutchison, who killed himself in 2018, has a beautiful build in the chorus and Turner’s knack for turning clever phrases even in grief.
Spoon – Wild. Spoon’s first album in five years, Lucifer on the Sofa, drops this Friday, and the two singles I’ve heard so far show Britt Daniel in peak form, with a harder edge to the music behind him, something I can certainly support. The piano riff behind the chorus sounds incredibly familiar to me though.
White Lies – Am I Really Going to Die. It’s not as morbid as it sounds – it’s quite upbeat, in fact, and after hearing the two singles they’ve released, I’m wondering if As I Try Not to Fall Apart (due out February 18th) is going to be this British new wave band’s best album yet.
Shungudzo – It’s a good day (to fight the system). A tip from my grad school classmate Jim led me to I’m not a mother, but I have children, the 2021 debut album from Zimbabwean-American (and former Real World cast member) Shungudzo. The album itself combines multiple genres, from folk to hip-hop, with biting social commentary, and would have made my top albums of the year list if I’d heard it in time.
FKA Twigs feat. Jorja Smith and Unknown T – jealousy. So FKA Twigs released a mixtape in January called [CAPRISONGS] featuring a cornucopia of high-octane guests, but if you’ve followed my music lists at all, you had to know I’d choose the song with Jorja Smith to highlight. The drumbeat behind this track is intense, with sudden stops and starts that keep you off balance for the duration of the song.
Lucius – Next to Normal. I’ve liked quite a few Lucius songs over the decade since their first proper album came out in 2013, but I did not expect this track, which sounds like it could have come from Prince’s back catalog. Their third (or fourth, depending on whether you count their self-released record from 2009) album, Second Nature, comes out on April 8th.
The Mysterines – Dangerous. I’ve been looking forward to this British hard rock quartet’s debut album for about two years now, although this track isn’t the best representation of the high-octane grunge I’ve come to love from them. That LP, titled Reeling, is out March 11th.
Kid Kapichi feat. Bob Vylan – New England. Two artists who appeared on my top 100 songs of 2021 teamed up on this new single, taking aim at voter apathy in the UK with music that would have fit right in on Kid Kapichi’s This Time Next Year.
Crows – Slowly Separate. Crows’ Silver Tongues was one of my favorite albums of 2019, and this is the first new music from the British punk-rock band since then. They’re signed to IDLES’ Balley Records label, but I find their music more accessible and interesting than their bosses’ throwback punk style, more akin to Kid Kapichi or Fontaines D.C.
Yard Act – Pour Another. The Overload, the debut album from this British post-punk band, did not disappoint, from the title track to “Payday” to “The Incident” to this bouncy, dissonant tune. I keep coming back to the Gang of Four comparisons because they fit so well. Maybe these guys should cover “Natural’s Not In It?”
The Smile – You Will Never Work in Television Again. The Smile are Thom Yorke, Jonny Greenwood, and Sons of Kemet drummer Tom Skinner. There’s supposed to be an album coming, but for now we have two singles that sound a fair bit like Radiohead’s first album, and I’m here for anything where Radiohead members return to their rock roots.
Peter Doherty & Frédéric Lo – You Can’t Keep It From Me Forever. Yep, that’s Pete Doherty of the Libertines, working with the French musician Lo, with an album from the two of them due out on March 18th. Doherty also hinted at new Libertines material perhaps coming within the year, which would be even more exciting, but this track has a lot of that same vibe, almost like an older twist on the Libertines’ sound.
Hatchie – Quicksand. Hatchie’s dream-pop sound always reminds me of the Cranberries’ first two albums before that band went sideways; don’t be fooled by the slow start here, as the chorus has the big hook Hatchie delivers on all her better tracks.
Griff & Sigrid – Head on Fire. Griff doesn’t miss – that’s three incredible pop tracks from her in a year, this one featuring the popular Norwegian singer Sigrid.
Tempers – Nightwalking. Gothic electronica from a NYC duo who’ll release their third album, New Meaning, in April.
Steve Vai – Zeus in Chains. Vai’s Passion and Warfare came out the summer after I graduated from high school, and I couldn’t get enough of it. That particular style of instrumental guitar music hit a creative and popular zenith at that time, ending some time in 1992-93 with the rise of grunge (I’d call Joe Satriani’s “Summer Song” the last big hit of this movement), and Vai’s next album, Sex & Religion, didn’t have the same kind of melodic highs, and I fell off the train. Then this song popped up on my Release Radar, and it’s pretty good – maybe not quite at the level of “I Would Love To” or “The Animal,” but with a solid hook and some peak Vai shredding.
Zeal & Ardor – Church Burns. This project of Swiss-American musician Manuel Gagneux will put out a new, self-titled album this month, and if this song is any indication, his efforts to integrate gospel sounds with extreme metal – he says “black” metal but I assume that’s a play on words – are reaching their fruition.
King Buffalo – Shadows. This track is ten minutes long, just to warn you, but if you like psychedelic metal with a good bit of stoner to it, King Buffalo’s Acheron should be right up your alley.
Anxious – Let Me. This Connecticut hardcore punk band veers into extreme metal territory, with less of the melodic sensibility of last year’s “In April.”
Destruction – Diabolical. These icons of ’80s thrash – Wikipedia calls them part of the “Big Four” of German thrash, which, sure – actually sound pretty good for a bunch of guys pushing 60, and I give them credit for sticking to their sound. Thrash’s moment came and went as its adherents either went more commercial (looking at you, Metallica) or more extreme, but I’ll forever think of it as the perfect blend of speed and technical playing, without the excesses of most death metal bands.
Deserted Fear – Reborn Paradise. German melodic death metal that borders on thrash, just with growled lyrics. The machine gun-like guitar riff behind the verse stood out for me even with the ridiculous vocals.