→ May 31, 2014
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War Eternal.

Arch Enemy’s upcoming release War Eternal (due out June 10th) is the Swedish melodic death metal band’s first with new lead growler … I mean, singer Alissa White-Gluz, their tenth album over a now 19-year-career. Arch Enemy has always been among the most accessible acts in the melodeth subgenre, producing fast and heavy but, other than their debut album, not brutal tracks with clear melodic elements, technically sound guitar work, and solid vocals that didn’t distract from the underlying material. War Eternal has several tracks with the same musical strengths, but White-Gluz’s vocals and lyrics are a big step back from the band’s previous work, and sometimes it seems as if the vocalist change may have spurred a change in musical direction toward less adventurous material.

War Eternal opens somewhat promisingly, with a brief instrumental (in F minor, as the title tells us) before we get to two of its strongest tracks, the muscular “Never Forgive, Never Forget” and the raging title track. “Never Forgive” is driven by a simple six-note guitar riff repeated throughout the song that breaks apart the high-tempo verses and the staccato-plucked interludes, and the shredding in its two-part solo is probably the album’s strongest for pure technical skill. “War Eternal” opens with a marching pattern at machine-gun speed before downshifting into a pattern that seems drawn from classic ’80s thrash acts like Testament or Exodus, adding sophisticated melodic twists before each chorus to distinguish the song. It’s a shame that it’s brought down by its simple-minded lyrics (“Friend or foe/There’s no way to know” … this is the best they could come up with to open the song?), something that plagues much of the disc.

There’s a lull mid-album, including the cloddish “As the Pages Burn,” where War Eternal loses some steam, but a second instrumental, the glam metal-inspired “Graveyard of Dreams,” serves as a bit of a reset button before the furious strumming that opens “Stolen Life,” the track that should most satisfy fans of Arch Enemy’s previous work. The album needed a song like this: a taut, straightforward three-minutes of speed metal, with riffs to make Dave Mustaine proud (if he could stop patting himself on the back for a few moments). That combination of songs gives the listener a chance to breathe before the last standout on the album, the five-minute opus “Time is Black,” a theatrical and sometimes bombastic song with several tempo shifts and classical elements better integrated here than on “Avalanche,” which has “trying too hard” written all over it. It might have been better to follow “Time is Black” with “Down to Nothing,” which opens with a heavy grindcore pattern that reminded me of vintage Carcass – unsurprising, as Arch Enemy was founded by former Carcass guitarist Michael Amott, who worked on their landmark album, Heartwork, the album that did the most to establish melodic death metal as a viable style.

The main drawback in White-Gluz’s vocals is her style of growling, where she’s reaching so far down to get that gutteral sound that she sounds like she’s retching, and she rarely varies this style so the listener never gets a break. Extreme metal already has a sort of built-in bias against female vocalists because of the genre’s preference for these Cookie Monster vocals, rather than the kind of operatic singing associated with British metal of the late 1970s and early 1980s, the sing-talking of 1980s speed metal, or the death-screeches of Chuck Schuldiner (of Death) or Jeff Walker (of Carcass). White-Gluz’s predecessor, Angela Glossow, found an adequate medium with a higher-pitched growl than male death-metal vocalists employ, but White-Gluz is aiming for a lower register and it doesn’t work for me. She also is far too prone to employ the most cliched move in extreme metal, roaring at maximum volume over the opening riffs. (Note to aspiring death-metal vocalists: Don’t do this.)

War Eternal also suffers from a lack of ambition, outside of “Time is Black” and perhaps “Avalanche,” sticking mostly to straightforward thrash with death-metal vocals and blast beats, when they’re at a point in their career where you’d expect more experimentation. I prefer metal with progressive or technical elements, such as on Insomnium’s Shadows of a Dying Sun, but if you’re interested in Arch Enemy I’d suggest starting with 2003’s Anthems of Rebellion.

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→ May 19, 2014
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Odludek.

Jimi Goodwin, lead singer and bassist for the popular British rock band Doves, recently released his first solo album, Odludek, while the group is on an indefinite hiatus. I was a longtime Doves fan for their eclectic approach to each album, use of heavily textured music that often recalled their brief time as an electronic act called Sub Sub, including the landmark The Last Broadcast, which hit #1 in the UK and produced a top ten hit in “There Goes the Fear.” Doves never found much traction in the U.S. – Broadcast peaked at #83 here and none of their singles charted – but that hasn’t deterred Goodwin from making a Doves-like album, even weirder on some songs than the most experimental Doves material, but far less even than his old band’s best releases.

Goodwin crosses many genres on Odludek, from ’70s funk-inflected tracks like the opener “Terracotta Warrior” to the electronic influences of “Live Like a River.” Oddly enough, however, the strongest moments on Odludek are when Goodwin goes acoustic, borrowing from the same source material that drives artists like Mumford and Sons and even underlies the sanitized Irish folk songs of Celtic Woman. “Hope,” “Oh Whiskey,” and the brilliant closer “Panic Tree” are all built on familiar acoustic guitar rhythms, each bringing a different twist to the format to avoid the “I’ve heard this before” feeling of the various knockoff acts sailing in the wake of Mumford’s first album (and I’d include their second album in that category). “Oh Whiskey” comes along like a drinking song, a plea to a different kind of spirit to bring him patience or empathy – but not the blues. “Hope” finds Goodwin singing beyond his range to begin the song, but gains intensity with the deep harmonies behind the chorus reminiscent of Negro spirituals. “Panic Tree” tells a family history of anxiety via the metaphor of, yes, a tree growing in the yard for generations, a serious subject treated with humor over music that sounds like it’s lifted from a nursery rhyme or a Raffi album.

The common thread tying the album together is a sense of musical exploration, grafting sounds on to each other even though the immediate connection isn’t apparent. That supports some of the weaker tracks where Goodwin cranks up the distortion and the tempo, as on “Terracotta Warrior,” which has horn-heavy breaks in between the heavily strummed guitar lines. Unfortunately Goodwin’s songwriting suffers as he tries to ramp up the complexity; “Lonely at the Drop,” an acoustic/electric track with lyrics that offer a bitter attack on Christianity, opens with a guitar riff we’ve heard a thousand times before and moves like a car that’s driving without a destination. “Man V Dingo,” the album’s most eccentric track, rides a dissonant riff too long – a tritone just begs for a resolution at some point – and comes across like an attempt to mimic freeform jazz in a rock format. The slowest tracks, “Keep My Soul in Song” and “Didsbury Girl,” pass by without making any impact, musical neutrinos that don’t showcase any melody or technical skill.

Doves may not return to the studio any time soon – the band hasn’t officially broken up, but it sounds like it’ll be a while before we get new material, if at all – and I was hoping a great Goodwin solo album would tide me over, but Odludek falls short of the mark. While the three strong acoustic tracks show off his sense of melody and make better use of his wry lyrical voice, the remainder of the album doesn’t have the hooks to justify the experimentation, and the lack of consistency across the ten tracks only seems to emphasize its lack of strong melodic elements.

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I won’t give Courtney Barnett’s The Double Ep: A Sea of Split Peas a full review, but there are two standout tracks on the album, which features brilliant (if weird) lyrics set to some pretty simple music. Most of the time Barnett seems to be sing-talking over her guitar, but “Avant Gardener” (available free on amazon right now) and “History Eraser” have actual melodies to go along with the insane stories she’s telling. “Avant Gardener” turns a routine afternoon going outside, picking weeds and preparing to plant a garden, into an asthma attack that sends her to the hospital; on the way she observes that the parademic “thinks I’m clever because I play guitar/I think she’s clever ’cause she stops people dying.” Meanwhile, “History Eraser” tells of a drunken evening in a style that mimics the meandering, stream-of-consciousness thinking of an inebriated person, but with tons of wordplay, assonance, and allusions that you’d have a hard time conceiving if you were sloshed. She’s one to watch if those two songs are any indicator of what she’s capable of writing.

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→ May 3, 2014
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Saturday five, 5/3/14.

My two bits of content from ESPN.com this week:

* The mishandling of Bryce Harper
* Klawchat

I’ll have an updated top 100 ranking for this year’s rule 4 draft up on Thursday, May 8th, followed by a projected first round (aka a “mock”) on the 15th.

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Now, in keeping with the original idea for the Saturday five posts, here are five songs I’ve been listening to lately, outside of the albums I’ve been reviewing:

* The War on Drugs – “Red Eyes.” Everyone seems to love their latest album, Lost In The Dream, but after multiple listens no song has grabbed me like “Red Eyes,” which is the only track on the album that doesn’t sound like a band trying to imitate Bob Dylan. “Red Eyes” reminds me more of Lord Huron or the Head & the Heart, bands that also draw inspiration from Dylan and other folk-rock artists but without coming off as in any way derivative of their influences.

* Thumpers – “Unkinder (A Tougher Love).” Yet another heavily New Wave-inspired English synth/rock act … but the offbeat rhythm of all of the vocals, both verses and chorus, sets the song apart from the dozens of similar tracks that have been coming out of the UK over the last few years. Their debut album, Galore, came out in February.

* Broods – “Bridges.” My daughter loves this song, so here’s her review: “I like the way she sings, and the words sort of, but I mostly like the way she sings.” Works for me. For all the raves Grimes got for her 2012 album Visions, Broods mines similar high-pitched territory but with a far more pleasant vocal style. Their debut EP Broods came out in January.

* Gap Dream – “Fantastic Sam.” The song reminds me of Django Django’s last album, but with a more melancholy, hypnotic tone, and less interesting lyrics (which even my daughter picked up on). Their debut album, Shine Your Light, came out in November.

* La Sera – “Losing to the Dark.” The solo project from former Vivian Girls member Katy Goodman, La Sera put out this lead single earlier this spring, and it’s a near-perfect tranche of bright punk-pop to contrast with its downtrodden lyrics. Her third album, Hour Of The Dawn, comes out on the 13th, and it’s probably my most-anticipated album of the month.

[soundcloud url=”https://api.soundcloud.com/tracks/137953039″ params=”color=ff5500&auto_play=false&hide_related=false&show_artwork=true” width=”100%” height=”166″ iframe=”true” /]

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And now, this week’s five links, heavier on science this week…

Also, two bonus links this week that may be relevant to your interests, since you’re here… My ESPN colleague Ramona Shelburne wrote an amazing, thorough story on the Donald Sterling imbroglio from inside the Clippers’ organization. Also, fellow Parks and Recreation fans will enjoy Alan Sepinwall’s post-season-six interview with Michael Schur, covering everything from the changes ahead for season seven to the evolution of the running Cones of Dunshire gag. I’m convinced part of Parks & Rec‘s success came from embracing the show’s essential nerdiness, both the eccentricity of its central characters and the writers’ willingness to make references (like Settlers of Catan) that wouldn’t normally appear in a network series aimed at a mass audience. Or maybe it’s just that they let Chris Pratt do more dead falls. Those work too.

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→ May 1, 2014
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Wye Oak’s Shriek.

I’ve got a chat today at 1 pm ET, and my one column this week was on the Nationals’ mishandling of Bryce Harper.

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Indie-folk duo Wye Oak overhauled their entire sound with their latest album, Shriek, released earlier this week on Merge Records to strong reviews (Pitchfork and AV Club both raved about it, while Consequence of Sound was more guarded). Ditching the jangly guitars of their earlier work, Wye Oak’s Jenn Wasner and Andy Stack have stripped everything down to a synth-drum-and-bass sound that sounds like a search for something that the pair weren’t truly able to find.

Shriek starts off with a grand announcement that this is no longer the Wye Oak of Civilian, with a throwaway keyboard line that goes on, without any backing, for about 15 seconds too long, before we get the potent bass line (one of the album’s strengths is Wasner’s bass work throughout) and the half-a-drum loop, resulting in a dreary if atmospheric dirge that will likely feel like a letdown to anyone who enjoyed Wye Oak’s earlier work. The first three songs, including the title track and the abysmally cheap-sounding “The Tower,” all share that maudlin feel, with Wasner’s vocals and bass somewhat wasted over insufficient percussion and synth lines, and tempos that left me waiting for someone to pick up the pace.

“Glory” finally finds Wye Oak veering more into electro-pop territory, not as bright and sunny as CHVRCHES or St. Lucia, thanks to Wasner’s smoky vocals and the sudden stop at the end of each four-beat drum loop. The result is a darker, more seductive sound that still finds Wye Oak in unfamiliar territory compared to the preceding trio of songs. “Sick Talk” is more overtly CHVRCHES-like with the spare synth-and-drum riff behind Wasner’s higher-pitched, ethereal vocals – reminiscent of the Cocteau Twins, especially since I can’t make out much of what she’s saying – while “Schools of Eyes” starts to wind the tempo back down; it’s not quite as languorous as what comes afterwards, built on a brushed drum pattern and the application of reverb to Wasner’s vocals that give the song a richer texture than most of Shriek‘s other material.

The final four tracks harken back to the opening triad, with slower pacing, starker production, and amateurish synth lines that I’ve always found irritating for the way they seem to emphasize the instrument’s artificality. “Paradise” at least makes its synth riff a dissonant one, and the texture provided by multiple layers of percussion and a vocal that is set off from the primary rhythm of the song by about a half-beat makes the song compelling despite the lack of a clear melody, similar to Bjork’s less poppy work from her last few albums. It’s the last great moment on the album, however, a disc that ends with the whimper of “Logic of Color,” which sounds like it was recorded on a $99 Casio synthesizer from 1988, beneath the weakest lyrics on the album as well. Wye Oak’s decision to abandon guitars for keyboards was a radical shift, but one that could have worked better if they had maintained portions of their old sound rather than producing a record that, around a few standout tracks, sounds like the debut record from a new artist.

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→ April 28, 2014
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Himalayan.

Himalayan, the third album from English rock trio Band of Skulls, finds the band moving into more nuanced, original territory, keeping the heavy guitar sounds and blues-rock influences from their last album Sweet Sour but stepping up the songcraft enough to make it sound like something new. There are plenty of winks and nods to other bands, some welcome and some tired, but the result is powerful and intense, and one of the best albums I’ve heard so far this year. (It’s $6.99 through that amazon link above; it’s also on iTunes for $9.99, including a bonus track.)

Band of Skulls have taken some heat for sounding too derivative of other artists, but if you’re going to be derivative, at least be derivative of a broad list of influences – and Band of Skulls certainly do that. You could pick out Black Sabbath (“Asleep at the Wheel”), Led Zeppelin (“Heaven’s Key”), and White Stripes (“I Guess I Know You Fairly Well”), but there’s also Marilyn Manson (“Hoochie Coochie”), Arcade Fire (“Nightmares”), and even a little Bowie (“I Feel Like Ten Men, Nine Dead and One Dying”).

The twin strengths of Band of Skulls are the huge guitar riffs by Russell Marsden and the shared vocals between Marsden and bassist Emma Richardson, with the two aspects helping balance each other – the riffs border on New Wave of British Heavy Metal territory, but the harmonies and female vocals provide the contrast to keep them off Ozzy’s Boneyard. The album starts with the lead single, “Asleep at the Wheel,” built around a riff to make Tony Iommi or Brian Tatler proud, but the lead-in is, appropriately, a driving minor-chord pattern from ’70s AOR, leading into the title track’s Zeppelin-esque rhythm guitars, a track that makes great use of the two vocalists in its chorus.

That takes us to the most interesting song on the album, “Hoochie Coochie,” which sounds for all the world like a reconstructed take on Marilyn Manson’s “The Beautiful People,” right down to the high/low vocal pattern, but with a guitar part more in line with vintage Iron Maiden for its faster tempo. Himalayan‘s shortest track, clocking in at a brisk 2:40 and never letting up on the groove that drives the verses, the song probably has as little to say lyrically as any other on the album, but the main guitar riff gives such a strong impression of wheels turning at high speed that the song compels further listens – and the Bonhamesque percussion, present on several tracks here, helps add to the sense of urgency.

Band of Skulls deviates once more from their basic blues-rock formula with “Toreador,” which is the first hard-rock paso doble song I can remember hearing, with the guitar and drum playing a synchronized two-step rhythm behind the vocals (sung by Richardson), referring to the bullfight as “just a cloak-and-dagger score.” Rapid tempo shifts evoke the changing directions of the toreo, leading into a machine-gun riff that once again calls Adrian Smith’s early work to mind, until the uncertain conclusion after one more iteration of the chorus. It’s a clever transposition of two styles that wouldn’t seem to have any natural connection, and probably has more airplay potential than anything else on the album.

Himalayan can drag when Band of Skulls decides to slow things down, exposing both the weak nature of some of their lyrics and the lack of texture inherent in a trio when you have to turn off the heavy distortion of the lead guitar; for example, “I Feel Like Ten Men, Nine Dead and One Dying” starts off like a Doves B-side, leaving the listener waiting for the Big Crunch to arrive (which it does, in the chorus). “Nightmares” is the album’s strongest mid-tempo song, with the ethereal production of pre-Reflektor Arcade Fire, but again the weak lyrics become more noticeable when the guitars are toned down. There are more than enough high-energy tracks and passages on Himalayan to make up for some soft spots, and I particularly enjoyed its updating of classic sounds from the late-70s/early-80s period of British hard rock and metal that was prevalent even when I was in high school a few years after that. When Band of Skulls decide they want to rock, they rock. They just need to do more of that.

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→ April 19, 2014
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Manchester Orchestra’s Cope.

Manchester Orchestra’s newest album, Cope, has the biggest guitar sound I can remember hearing on any record, gigantic, immersive riffs that I’d love to hear when I plug my own axe into an amplifier. Hell, I want these chords to play any time I enter a room. If Sam Cassell pretended to hold guitar riffs instead of his balls after making a big play, he’d be holding the riffs from Cope.

MO layers these riffs over lugubrious rhythms that derive more from doom metal (acts like Trouble or Cathedral) than from any subgenre in the indie or alternative rock worlds, a formula that produces an uneven album but that works more often than it doesn’t, especially given the naturally despairing tone of Andy Hull’s voice. Album opener and first single “Top Notch” best demonstrates this combination of left- and right-hand paths, with an enormous crunch to open the track that evokes early Black Sabbath both in its force and in the use of sudden transitions from high-intensity riffs to slow, quiet passages beneath the lyrics, the strongest on the disc. The lyrical yearning pairs with the tantalizing pause and buildup into each chorus; the quick stops after each riff leave you standing at the edge of a crumbling cliff, waiting for the next giant crunch to arrive, only to have it come a beat later than you expected.

When MO utilize that set of contrasts – loud/quiet, staccato finishes/tentative restarts – they provide Cope with its strongest tracks, including the opener, “The Mansion,” the 6/4 track “The Ocean,” and “Trees,” the last of which has an opening lick that could have come off a recent Black Keys album. The plaintive riff that opens the waltz “All That I Really Wanted” prop up the generic expressions of regret in the verses – Cope isn’t Hull’s strongest work as a lyricist – in a track that might have served as a better closer than the title track. “The Mansion” is more straightforward, at least in tone and time signature, but another dramatic shift into the chorus punctuates the rather morbid verses that precede each one.

However, when the pace picks up, the music becomes a little one-note – the harmonies sound overproduced, the tension is lacking, and the weaker lyrics become more noticeable. “Girl Harbor” sounds like an aborted attempt at a straight pop song, lacking not only the huge riffs that distinguish the album as a whole but even missing any kind of dissonant or contrasting note to tone down the saccharine lyrics. “Every Stone” is similarly upbeat without balance; that’s not who Manchester Orchestra is, and it’s certainly not what they do best, so when they head in this direction, the harsh or heavy elements are notable by their absence. Those vocal harmonies work so well in the midst of a song that otherwise borders on hard rock or metal, but they risk coming too close to OneRepublic when they indulge in those harmonies without that note of acidity to create a more complete dish.

Cope represents a step forward again for Manchester Orchestra, whose critically-acclaimed 2011 release Simple Math dwelled too much on insular, tenebrous sounds and didn’t have anywhere near the aural appeal of this album. Some listeners may not appreciate the shift from indie-rock quirkiness (like Simple Math‘s “Pensacola”) to full-on metal-tinged rock, but of all of the stylistic dialects the band has tried, this one suits Andy Hull’s voice and lyrics the best, even with some inconsistencies in their transition to this kind of sound.

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I take a fair amount of time to review albums, giving them as many listens as I think necessary to write up a proper review, which means I won’t usually have a review out the day an album’s released (only if I have a promo copy), and I won’t review every album I hear. I’m hoping to write up at least three more recent releases before draft season starts to overwhelm me – Band of Skulls’ Himalayan, Jimi Goodwin’s Odludek, and The War on Drugs’ Lost in the Dream.

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→ April 14, 2014
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Kaiser Chiefs and Cloud Nothings.

My latest post at ESPN is on the draft blog, discussing Carlos Rodon’s pitch counts and scouting some draft prospects, including Luke Weaver and Max Pentecost.

Kaiser Chiefs’ second-ever single, 2004’s “I Predict a Riot,” was a global hit and one of my favorite songs of the first decade of the 2000s. Their second album had one solid single, “Ruby,” but since that point the bad seemed to hit new lows with each release; their 2012 album Start the Revolution Without Me was so bad I never bothered to review it.

That devolution makes this year’s Education, Education, Education & War (also on iTunes) all the more fantastic: It’s the best album of the band’s career, packed with blue-collar anthems, still melodic but with a new lyrical maturity and more consistent hooks from start to finish. No track stands out quite like “Riot,” but there are a half-dozen songs on here that would hold up well as singles, and fewer filler tracks than any of their previous full-lengths. The album even gets bonus points for a cameo by the wonderful actor Bill Nighy, narrating a brief poem at the end of the disc’s best song, “Cannons.”

Education opens with a statement of purpose, “The Factory Gates,” a morbidly witty elegy to the dead-end job of the factory worker – ineffective as any kind of protest song, but more profound as a statement of despair at a career that no longer offers any kind of upward mobility: “I’m a shopworn sales campaign/Trapped behind yellow cellophane… ” That leads into the first single, the downtempo “Coming Home,” before the album’s first stumble in “Misery Company,” where a hackneyed bit of wordplay and overplayed cackling line after the chorus sound like someone’s trying too hard to get airplay.

The Chiefs’ strongest moments have always come when they infuse their songs with high-energy riffs, and other than the slower “Coming Home,” the same applies on Education, including “Factory Gates,” the stomping “Ruffians on Parade,” and the quartet of songs that starts with “One More Last Song” and concludes with the anti-war song “Cannons.” I don’t think there’s anything new to be said on the whole “war is bad” theme, but the Chiefs work in some clever imagery – “they treat us like we’re extras in an epic” – without resorting to cheap humor, all above the album’s best earworm, the “we’re gonna need a lot more cannons/if you want to be home by Christmas” couplet that opens the chorus. That song dissolves into the two-minute poem read by Nighy, penned by Chiefs songwriter Ricky Wilson, about “the occupation of Damnation Eternal” by an unnamed superpower, a strange interlude for the middle of a rock album, although I could probably listen to Nighy narrate the unabridged War and Peace without losing interest.

Lyrical cleverness is great but hardly sells me on an album; where Education, Education, Education & War succeeds and its predecessors failed is in the music. Something clicked back into place for the Chiefs, perhaps related to the departure of lead songwriter and drummer Nick Hodgson, so this album is packed with more memorable riffs than their last three discs combined, many of which are just begging to be played live. It’s a choppy experience, with tracks like “Meanwhile Up in Heaven” and “Roses” depleting the energy the band has built up through preceding songs, and “Misery Company” inducing some cringes with the same bad puns that Soul Asylum used 15 years ago. The album’s title comes from a famous (in the UK) 1997 speech by Tony Blair, where he may not have used the “and war” part of the quote, and there’s a clear nod back to the Blur camp of the mid-1990s Britpop divide. That melodic sensibility breathes new life into the Chiefs, a band that appeared to have wound itself down as recently as two years ago.

* Part of why I’ve dithered on posting any album reviews is that I kept listening to Here and Nowhere Else (also on iTunes), the latest release from Cloud Nothings, and found myself failing to draw anything resembling a conclusion about it. After two more listens during my trip to Atlanta, I’m ready to say it: It’s not that great.

Cloud Nothings are primarily the brainchild of Dylan Baldi, a Cleveland-born singer-songwriter who wrote and recorded their entire first album in 2011, since which point the solo project has morphed into an actual band. Baldi et al tend to write their songs quickly, and it shows on Here and Nowhere Else, an eight-song, 30-minute album where each track sounds like nothing so much as the ones before and after it. There are a few more melodic songs, notably lead single “I’m Not Part of Me” and opener “Now Hear In,” but there seems to be an almost deliberate desire to recreate the kind of simple bang-on-a-can ethos of teenaged garage bands that, recorded professionally by seasoned musicians, can come off as repetitive. When Baldi stretches out on the album’s one long track, “Pattern Walks,” he starts screaming the lyrics as if to recapture the listener’s attention, which has wandered after the previous six tracks of pleasant sameness. There’s nothing inherently bad about the album, but I keep waiting for something truly new from Baldi, while instead, Here and Nowhere Else sounds like a good band in stasis.

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→ March 6, 2014
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Music update, March 2014.

I’m in Florida this week, trying to skirt the weather and see some prospects, with posts filed so far on the Astros and the Tigers and Pirates.

I thought the year got off to a poor start for new music, but the pace picked up very quickly in February and I felt like I had to post something before the sheer volume of new tracks worth discussing overwhelmed me. The songs here aren’t listed in any order, and as usual, I’ve thrown the tracks available on Spotify into a playlist.

* I reviewed the self-titled debut album by Drenge in October, but it’s still not out in the U.S. They did release a digital single with two of the album’s better tracks, “Bloodsports / Dogmeat,” in January, so that’s something. “Bloodsports” was my favorite song from the album and was #14 on my ranking of the top 100 songs of 2013.

On to truly new stuff…

* Favorite song so far this year is a toss-up between “Out of the Black” by Royal Blood and “Queen Of Hearts” by Darlia, both British acts that combine hard rock and alternative sounds but with very different results. Royal Blood are a two-piece act, guitar and drum, with a lot of both of them, bringing a menacing, harsh approach that here is driven by an off-beat riff that opens the song, followed by a deep plunging chord that takes forever to come back up for air. Darlia mines more commercial territory, earning some Nirvana comparisons but with a far more melodic and less dissonant approach than Cobain’s best moments.

* Manchester Orchestra’s new single, “Top Notch,” isn’t too far behind, with enormous, bottomless chords that fill the speakers with walls of desperation, giving way to Andy Hull’s similarly despairing vocals. When these guys are at their best, they manage to convey hopelessness without sacrificing melody. Their new album comes out April 1st, which is a huge day for new releases, bringing new full-length discs from Cloud Nothings, Band of Skulls, and Kaiser Chiefs.

* Dum Dum Girls’ “Rimbaud Eyes” has my favorite song title of the year, albeit from a band with maybe the worst band name I’ve heard since Night Terrors of 1927. Arthur Rimbaud was a French poet and famous libertine who, per Wikipedia, was described by a friend as having eyes “pale blue irradiated with dark blue—the loveliest eyes I’ve seen.” The double-D girls – that can’t be an intended double entendre, can it? – borrowed all of the lyrics to this ethereal, new-New Wave song from Rimbaud’s poems as well.

* Primal Scream – “It’s Alright, It’s OK.” The Screamers have been churning out the same songs for nigh on twenty years now, but to their credit, when they nail one, as they did here and with their first hit single, the Rolling Stones knockoff hit “Rocks,” it’s incredibly hooky. The lyrics here are dopey, but good luck evading the big hooks in the chorus. (The album was released in 2013, if you’re one of those people who absolutely has to correct these things if I don’t mention them.)

* Big Data – “Dangerous.” I think half of this duo went to my alma mater, but there’s no favoritism here. This bouncy electro-pop song is all over alternative radio, but for me this is a pop hit through and through, nothing “alternative” other than the fact that it hasn’t crossed over yet. (By the way, I’m amused by the sudden reapperance of The 1975’s “Chocolate” on pop radio and Sirius XM’s The Pulse, which I predicted last April.)

* White Lies – “There Goes Our Love Again.” I whiffed on this one; the album came out in August, the single a few months after, and I just flat-out missed it, hearing it for the first time in late January. If you like Joy Division, or their illegitimate love child with Depeche Mode known as Interpol, you’ll like White Lies.

* Waylayers – “Magnets.” They call their music “widescreen indie-pop” and I have no idea what that means. Their newest single is “Medicine,” but this track, first released in 2012 and released again on an EP in the fall which means it’ll be released for a third time whenever Waylayers put out a full album, is their best so far. It’s synth-pop, like an upbeat, sharper Coldplay song, not least because of the similarity between their vocalist and Chris Martin.

* High Highs – “A Real Hero.” I’m not sure we needed yet another cover of College’s modest hit from the soundtrack to the movie Drive, but High Highs does a solid job. It’s a bonus track on their new album, Open Season.

* Broken Bells – “After the Disco.” The new album is fine, good, maybe a 55, but I can’t say it’s blown me away so far. The first single, “Holding on for Life,” #65 on my list of the top 2013 songs, and this track are the two standouts for me through a couple of listens.

* Hospitality – “I Miss Your Bones.” Now this is an alternative act, minimalist, like someone tried to take the Dogme 95 principles and apply them to music. Everything sounds spare, and while the album as a whole tends toward more somber pieces, the raw energy of this lead single, which has gotten some airplay on XMU, stands out.

* Prides – “The Seeds You Sow.” I don’t know how much attention this Glaswegian trio will get here, but this rousing synth-heavy stomper should be a big hit. It’s not on Spotify nor is it out yet in the U.S. but you can hear the song on their site. If you’re in the UK, the band’s EP, called The Seeds You Sow EP, is already out.

* Kaiser Chiefs – “Coming Home.” Best song the band, which seemed lost at sea a few years ago, has put out since 2007’s “Ruby.” The song isn’t on Spotify yet, but the album (as mentioned above) comes out on April 1st.

* Sir Sly – “Gold.” Kind of a cousin to Cage the Elephant, with the vocalist’s odd intonation and the bombastic chorus and final bridge. I can’t say I love the piano line’s similarity to the fake piano line in Linkin Park’s “In the End.”

* Dr. Dog – “Broken Heart.” And another act that seems to draw some inspiration from Cage, with the deliberate sloppiness of a jam band, like they’re just having too good of a time to make sure everyone is playing the same song.

* Foster the People – “Coming of Age.” I was surprised by this, the lead single from the band’s upcoming album Supermodel, because it’s so … conventional. “Coming of Age” is a quality pop single, but there’s nothing we haven’t heard before in here, and it’s less daring than “Helena Beat” or “Don’t Stop,” neither of which was groundbreaking but at least brought some new textures. Hey, at least it’s better than the Damn Yankees song.

* Yellow Ostrich – “Shades.” Saw these guys two years ago in Tempe when they opened for Of Monsters & Men, and it seems like their sound has matured substantially since the album on which they were touring in 2012. The hooks are stronger, the production is cleaner, and the balance here on “Shades” between the big guitar riff and the vocals is spot on.

* Bestfriends – “Lakeshore” and “The Way I Feel.” The first song isn’t out anywhere yet, but I received both on a promotional sampler; these guys could be the next electro-pop breakthrough act, along the lines of Foster the People and Passion Pit, right down to the falsettos and occasional guitar line to break up all the synthesizers.

* And hot off the presses, Lykke Li’s “Love Me Like I’m Not Made of Stone,” just released on March 4th. I’m not even sure what I think of it yet, other than it’s so stark it feels soul-bearing.

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