alternative

→ June 1, 2025
→ By keith
→ 4 Comments

Music update, May 2025.

I believe this is my longest-ever monthly playlist, at 42 songs and 205 minutes, and I even cut a few tracks (like one from Nilüfer Yanya) before settling on this set. We had a ridiculous number of new albums of note come out last month, along with some big announcements of new records and/or tours, plus any month with five Fridays is going to have more new music by default. As always, if you can’t see the widget below you can access the playlist here.

The Beths – Metal. For now, it’s a one-off single from The Beths ahead of a big tour this fall – and yes, I bought a ticket – with no word of a follow-up LP to their grade-80 album Expert in a Dying Field.

Suede – Disintegrate. Singer Brett Anderson (not the left-handed pitcher) has said Suede’s upcoming record will be their most post-punk album, and this lead single clearly leans that way. It’s amazing to me when a band can produce one of their best singles thirty years into their careers.

Wolf Alice – Bloom Baby Bloom. The Mercury Prize-winning London rockers are back, with this lead single ahead of their fourth album’s release on August 29^th. The piano riff that drives this song is almost smooth-jazz, channeling Jethro Tull’s “Bourée” or something similar, before drifting into hard rock and back again, Wolf Alice at their unpredictable, imaginative selves just as they were on their last album, the magnificent Blue Weekend.

Obongjayar – Not In Surrender. Obongjayar’s latest album Paradise Now is about as genre-spanning an album as you’re likely to hear all year, which means it’s pretty inconsistent but has some incredible high points like this pulsing Afrobeat/rock track and the earlier single “Sweet Danger.” I actually can’t stand the collaboration with his frequent musical partner Little Simz, “Talk Olympics,” because … well, listen to the intro and you can probably guess why I find it so annoying.

Elbow – Sober. Elbow is releasing a five-song EP, Audio Vertigo Echo elbow EP5, including this track and last fall’s tremendous “Adrianna Again,” on June 6^th; I believe this track is from the Audio Vertigo sessions, unlike the previous single, but whatever, it’s all great and I think Elbow is peaking.

The Itch – The Influencer. One side of a new single from this Georgia duo who’d previously released just a single track, last year’s “Ursula,” which is about one of my all-time favorite novels, Ursula K. Le Guin’s The Dispossessed. This is straight-up ‘80s new wave with some goth influences – think Bauhaus, Heaven 17, mid-80s Depeche Mode – and as such couldn’t be more in my wheelhouse.

Peter Murphy – Hot Roy. “Cuts You Up” is Murphy’s peak; when I did a list of the best songs of the 1990s back in (gulp) 2010, it was at #118; I might have it higher now, honestly. This is the first thing he’s done in probably 20 years that recaptured even some of the glory of that song for me.

Sunday (1994) – Doomsday. It’s a bad commando name, I admit, but if you like dream pop at all, especially the 1990s version, this band and their new EP Devotion are for you.

Indigo de Souza – Heartthrob. I can’t figure out if I’d heard de Souza’s music before and didn’t care for it, or if this was the first track by the Asheville singer/songwriter I’d heard. I thought it was a new song by Weakened Friends given de Souza’s warbly delivery and overly earnest lyrics, but the hook won me over. Her fourth album, Precipice, comes out on July 25^th.

Deep Sea Diver – Emergency. I’ve hadat least one Deep Sea Diver song on a previous playlist, and reader Brian in SoCal recommended I check out their newest LP; I found the album kind of uneven but when they let ‘er rip, as they do on this song, it’s fantastic, with a great pop hook in the chorus but enough roughness around the edges to keep a more authentic, almost college-radio sound.

TURNSTILE – BIRDS. I’m not sure what’s going on with TURNSTILE; they were a great punk band, and some of that is still evident on the new record, but they’ve gone well beyond that genre on this album, Never Enough, due out on June 6^th, and the experimentation doesn’t work as well as it did for the comparable record from Fontaines D.C. “SEEIN’ STARS” is almost a pop song; “LOOK OUT FOR ME” is a six-minute opus where the first half sounds too much like early Helmet. Also please stop writing everything in all caps, I feel like you’re yelling at me.

Black Honey – Insulin. I’ve been a Black Honey fan since their first handful of singles in 2015-16, which is hard to believe now. They started out as more power-pop but they’ve had a harder edge between their last album and this single. Their fourth album, Soak, is due out in August.

Hotline TNT – Candle. This noise-rock band’s last single, “Julia’s War,” was my favorite track from them to date … and this might be my second-favorite. Their third album, Raspberry Moon, comes out on June 20^th. I actually don’t like the third single, “Break Right.”

Jehnny Beth – Broken Rib. Beth was the lead singer of the short-lived post-punk band Savages, whose debut album Silence Yourself was #18 on my ranking of the best albums of the 2010s; she released a solo album in 2020, but has mostly appeared as a guest vocalist on other artists’ works, and even appeared in the film Anatomy of a Fall in a significant supporting role. Her second album, You Heartbreaker, You, is due out in August, and this lead single is a welcome return to that Silence Yourself form of raging feminist post-punk.

Preoccupations – Panic. Ill at Ease, the latest record from one of the most authentic post-punk bands out there, is solid if a little familiar, very much in that Joy Division/The Sound/Bauhaus vein.

Siracuse – Chase the Morning. Kind of Oasis meets psychedelic rock, a little less Madchester-y than their 2023 song “Saviour,” which made my top 100 for that year, more like the music I hoped the DMA’s were going to keep making until they threw up their hands and started making electronica instead of rock.

Sleigh Bells – Badly. Another band that seems to be good for one great song per album, although I think there’s a bit of gimmickry in their lyrics and sometimes videos (“Comeback Kid”) that I think takes away from the music. This isn’t quite up to “Rill Rill” or “True Seekers” but it’s in my top 5.

We Are Scientists – Please Don’t Say It. This song sounds like someone merged Sparks with a math-rock band, so it’s catchy but also has this intensity that I find grabs me early in the track and doesn’t let up.

The Supernaturals – Don’t let the past catch up with you. The Supernaturals hung around the fringe of the Britpop movement without quite breaking through to commercial success, splitting up in 2002 after their third album came out. They returned in 2015 and have now put out four albums post-hiatus, with this latest one, Show Tunes, coming out in May. I was and still am a big fan of Britpop’s original era, but I’d never heard of these guys until this record.

Sports Team – Boys These Days. The title track from their follow-up to the tremendous Gulp! is a good indicator of their downshift in style; the record has plenty of solid tracks but doesn’t hit as hard as the last record did, still playful and snarky, just lacking the huge hooks this time around. I also liked “Bonnie” and “Bang Bang Bang.”

The Head and the Heart – After the Setting Sun. I like when they stomp. That’s really it – when their songs build to a big stompin’ finish, like “Shake” does, I’m in. This one does that.

The Minus 5 – Let the Rope Hold, Cassie Lee. That is Scott McCaughey of the Young Fresh Fellows and, more importantly, The Baseball Project, along with his TBP bandmates Peter Buck and Linda Pitmon. The two bands will be touring together this September.

Peter Doherty – Felt Better Alive. Fresh off the triumphant return last year of his band The Libertines, Doherty followed it up with his first solo album in nine years last month. This is the title track from the record, which is a more subdued experience than the last Libertines record and which I at least interpreted as the work of a more mature, sober Doherty.

Natalie Bergman – Gunslinger. Bergman is a folk-pop singer from LA who is also half of the duo Wild Belle with her brother Elliot, and her second album, My Home Is Not in This World, is due out in July. Her previous record leaned towards some very religious material, but this song is secular and, I think not coincidentally, a real banger. Wikipedia says she’s the late Anne Heche’s niece.

Ty Segall – Possession. When Segall’s good, he’s very good – he crafts some really great rhythm-guitar hooks. He’s good for about one of them an album, which I guess is better than some artists.

Ezra Furman – Power of the Moon. Never been a fan of Furman’s music but this song is the best of hers I’ve heard, reminding me a lot of the Waterboys; I need to listen to the full abum, Goodbye Small Head, which came out on May 16^th.

Blondshell – Thumbtack. As I feared, “Two Times” turned out to be far and away the best song on Blondshell’s new album If You Asked for a Picture, and the album overall is a mixed bag. Sabrina Teitelbaum’s earnest lyrics and delivery wear pretty thin for me, unfortunately.

Shamir – I Love My Friends. Almost every Shamir song leaves me wondering why I don’t like his music more, but more often than not there’s just one thing that turns me off a song. This is the best track from his latest album, Ten, and an example of how good he can be when everything clicks … if you can live with his creaky delivery on the verses that belies his strong singing voice.

Wu-Tang & Mathematics – Mandingo. I suppose it’s a matter of semantics whether Black Samson, the Bastard Swordsman is a proper Wu-Tang release, but I would vote yes, as it features every living member of the Wu-Tang Clan on at least one track. It’s also pretty old-school, not exactly 36 Chambers level but in with similar music and, of course, a lot of snippets from kung fu movies.

Kae Tempest – Know Yourself. I still think of Tempest’s style as spoken word rather than hip-hop, although the chorus on this new track is at least more derived from the traditions of the Golden Age of the latter. I don’t think this is his strongest work lyrically – “I Saw Light” remains his best in my opinion – but it’s one of the best backing tracks he’s used to date.

Tune-Yards – How Big is the Rainbow. I used to hate “Water Fountain,” which I think is probably still Tune-Yards’ biggest hit, but it’s grown on me over time, probably because I’ve just become more open-minded about music that veers from what’s expected. Anyway, Tune-Yards’ latest album Better Dreaming dropped in May and I completely agree with Pitchfork’s comment that it’s their most melodic and accessible album to date. It’s almost poppy, at least within their typical framework of drum loops and globally-inspired beats.

Steve Queralt feat. Verity Susman – Messengers. Queralt is the bassist for Ride, the pioneering British shoegaze band, and here he teams up with Susman, the vocalist in Electrelane, for a spacey, time-out-of-joint sort of electronic rock track. It definitely seems like the sort of music you’d listen to while high, and I mean that in a good way.

deary – I Still Think About You. This dreampop duo has a couple of EPs under its belt, but this song, which reminds me a ton of early Lush (pre-“Ladykillers”), was my first exposure to them.

Nation of Language – Inept Apollo. This track is the new wave/synthpop trio’s first since signing with Sub Pop, and one of my favorite songs from them. No word yet on a new album, which would be their first since 2023’s Strange Disciple.

SENSES – Already Part of the Problem. I liked this Coventry-based quartet’s atmospheric rock track “Drifting” a couple of years ago; this one has a bit more energy and some more prominent synths, reminiscent of 1990s college radio rock.

The Chameleons – Saviours Are a Dangerous Thing. The Chameleons straddled the line between post-punk and new wave in the early 1980s but never found commercial success, even in their native UK, before breaking up for the first time in 1987. They reunited for one album in 2001, then broke up again, re-forming a second time in 2021 with two original members, singer/bassist Mark Burgess and lead guitarist Reg Smithies. They’re set to release their first new LP in 24 years, Arctic Moon, on September 12^th.

Jorja Smith – The Way I Love You. Idon’t love the frenzied techno beat behind Smith’s vocals, but I love her voice enough that I put the song on here anyway.

James BKS – Assia. TheFrench-Cameroonian musician/producer and son of legendary Afrofunk saxophonist Manu Dibango released his latest EP See Us Rise last month, including this midtempo, lite-jazzy number.

Suzanne Vega – Witch. I’ve never been a huge fan of Vega’s and this is the first song of hers I’ve put on a playlist, although that’s probably because Flying with Angels is her first full-length album in eleven years. Her lyrics can still get a little wobbly but I attribute that to her trying to be more ambitious in her storytelling. This song really rocks in a way I don’t totally associate with her, although she certainly has flashed that in her career (including on my favorite song of hers, “Blood Makes Noise,” covered surprisingly well by British thrashers Acid Reign).

The Budos Band – Overlander. So I’d never heard of the Budos Band until now, even though VII is, as you might have guessed, their seventh album, and their first came out 20 years ago. The whole album is like this, although this track has the best riff, and every song sounds like it belongs in a trailer for a movie you will be 30% more likely to go see because of the music.

Pelican – Cascading Crescent. How have I not heard of Pelican before? It’s mostly instrumental doom and sludge metal, and it’s awesome. This is one of several great tracks on their latest album Flickering Resonance. There is just too much music out there, dammit.

Witchcraft – Idag. The title track from this longstanding Swedish doom metal band’s latest album, their first rock album in nine years, is also its strongest, although the tempo is a little faster than typical doom – and that’s indicative of the album as a whole, which bounces around various styles, including some 1970s-ish blues metal, and has tracks in Swedish and in English. Some of the English lyrics are really silly (“Burning Cross”), but there’s some fantastic riffing across most of the LP.

Filed Under: Uncategorized Tagged With: 2025 in music, alternative, doom, hip-hop, indie, metal, Music

→ April 2, 2025
→ By keith

Music update, March 2025.

That was one of the worst months for new music I can recall – I had to stretch a little just to get this playlist to a sufficient length to post it. I figured waiting until the end of April would produce something too long to deal with, though. As always, you can access the playlist here if you can’t see the widget below.

Courting – Namcy. The new album is called Lust for Life, Or: ‘How to Thread the Needle and Come Out the Other Side to Tell the Story’. It’s really good, though. Maybe not quite up to 2024’s New Last Name, but still very strong, likely to be one of my favorite albums of 2025 when we get there, with this, “Pause at You,” and “After You” all strong (they were the three singles, too). The whole album is only 25:40, though. At what point is it just an EP?

Sunflower Bean – Nothing Romantic. Sunflower Bean started out as a post-punk/new wave band, shifted into more college-radio rock on their last two albums, had a hit with “Moment in the Sun,” and their newest album appears to be almost hard rock, with distorted guitars and lots of minor chords. I’ve liked all of the singles from their new album, Mortal Primetime, due out April 25^th, and this might have the best hook of them all.

Anxious – Audrey Go Again. Anxious’ latest album, Bambi, holds serve rather than pushing forward, with the Connecticut emo rockers – I mean, at this point, is it post-emo? Second-wave emo? – trying some different modes, like on this largely acoustic ballad, although they haven’t abandoned their typical sound with tracks like “Never Said” and “Counting Sheep.”

Swervedriver – The World’s Fair. Swervedriver released an EP, also called The World’s Fair, last month, their first new music since 2019’s Future Ruins LP. It’s a softer side of the band, whose 1990s heyday saw a heavier sounds full of swirling guitars, although the psychedelic elements are still evident here.

Greentea Peng – Nowhere Man. Peng had been AWOL since the summer of 2022, but put out two singles at the end of last year and dropped her second full-length album, Tell Dem It’s Sunny, on March 21^st. It’s a more mature sound, with stronger lyrics, along with vocals that lean more into the neo-soul part of her sound; on her first album, she often sounded like she was posturing, and I don’t get that sense from this record. Some other standout tracks include “One Foot” and “Stones Throw.”

clipping. – Dominator. Dead Channel Sky, clipping.’s second album, is a whole project, twenty songs including various interludes, shifting sounds and styles, and it’s one of the most interesting and challenging records I’ve heard in the last few years. I think that’s a good thing; Daveed Diggs’ verbal gymnastics carry them through on several tracks where the industrial backing music doesn’t land.

Freddie Gibbs – Nobody. This is unusually accessible for Gibbs, but remains a superb showcase for his skill as a lyricist and rapper; he’s one of the best on the mic right now for flow and style, and he can work over a piano track like this one and still sound hard.

Tunde Adebimpe – God Knows. Adebimpe’s solo debut, Thee Black Boltz, comes out on April 18^th; the TV on the Radio singer has put out three singles so far, and this is the weakest one, unfortunately.

Preoccupations – Bastards. These post-punk Canucks have been at it since 2012, and they’ve always hewed pretty closely to the standard sound of that genre – some of their tracks could easily have been recorded in 1983, given their adherence to the production style and sound of that era. This track seems like a departure for them, as the production is more modern, and much softer, which gives a whole new aspect to their songwriting. Their fifth album Ill At Ease comes out on May 9^th.

Black Honey – Psycho. A little chill for Black Honey, who’ve churned out scads of pop bangers over the last decade or so (“Hello Today,” “Midnight,” “Somebody Better,” “All My Pride,” “I Like the Way You Die,” “Run for Cover,” “Back of the Bar,” “Out of My Mind”), still catchy but not up to their usual standard. It looks like this is a one-off single ahead of a spring tour.

OVERSIZE – Are You With Me? This English quintet delivers straight-up classic shoegaze circa 1993 on their debut album, Vital Signs, an album that I think works better as a full listen because, consistent with that subgenre, they’re creating a whole wall of sound. This was the best track I could pull out to include on the playlist.

Hotwax – Strange to Be Here. This trio from Hastings, England, just released their debut album Hot Shock; I’ve seen them labelled as “grunge” in multiple reviews, but they’re grunge like Hole was grunge, which is to say they might have shown up adjacent to grunge but that’s not really their sound. It’s messy, often loud, guitar-driven rock, reminiscent of Hole and Babes in Toyland.

YHWH Nailgun – Castrato Raw (Fullback). And you thought Courting’s album was short: YHWH Nailgun’s debut album, 45 Pounds, runs just 21:04. I get that in the streaming era, album length doesn’t carry the same weight as it did when we were talking physical media and labels were asking $15 for anything called a full-length album. This isn’t an album, though. It’s a chapbook. For Christ’s sake, this is a mixtape, not the stuff marketed as such. But despite all of that, 45 Pounds is a weird, compelling listen. It’s driven by the percussion, including the use of rototoms, which allow drummer Sam Pickard to change the pitch of each drum by rotating it. It’s music, but it’s not very musical – the drums take over the record, which isn’t a bad thing by any means, meaning that there are just snippets of other instruments and singer Zack Borzone’s quiet, guttural vocals. Whether you like it or not, 45 Pounds will be one of the most unusual records you hear this year.

feeble little horse – This Is Real. This Pittsburgh noise-rock band is new to me, although they’ve been recording since 2021 and have released two albums. This song, which jams four distinct movements into a barely three-minute run time, is their first new track since their last album and a brief hiatus that saw them cancel their 2023 tour.

Greenleaf – Vat 69. I’d never heard of Greenleaf until this week, as the band reissued their 2001 album Revolution Rock with six bonus tracks. I’m annoyed that I wasn’t familiar with them before, as this album hits my particular nostalgia for this sort of hard-rock vibe.

Witchcraft – Drömmar av is. Witchcraft is a Swedish hard-rock band with doom elements to their music, although I wouldn’t call them straight doom-metal; they’ve been around since 2000 and their upcoming album Idag will be just their fifth. Their 2012 album Legend is their best to date, especially the first track, “Deconstruction,” which starts out a bit Sabbath-y before going full Iron Maiden after about a minute. This is the second track they’ve released from the upcoming album, and it’s better than the first, “Burning Cross.”

Planning for Burial – A Flowing Field of Green. Planning for Burial is one guy, Thom Wasluck, who not only plays all of the instruments on his records, he plays everything in live shows too. I don’t know how that works and, you know, it’s okay to work with other people. I thought Kevin Parker’s schtick was bad enough. Anyway, I happen to love the way this post-metal track builds up a sense of impending doom, and then delivers it in the back half.

Hesse Kassel – Postparto. Hesse Kassel is a progressive shoegaze band from Chile that just self-released their first album, La Brea, with tracks running from 6 to 13 minutes. The whole affair is 78 minutes long, or more than three times the length of Courting’s new album. Anyway, La Brea is fascinating, even if I can’t tell you if I like it yet.

Filed Under: Uncategorized Tagged With: 2025 in music, alternative, indie, Music

→ March 7, 2025
→ By keith

Music update, February 2025.

I always think February is going to be a lighter month for music, but that makes no sense since it will always have four Fridays, same as most months, and it’s not like December when labels do try to avoid releasing new albums. This month was pretty packed, and I’m sure I missed stuff – I’m behind on some of the full-lengths released in the last four weeks for sure – but here’s what I’ve got. As always you can see the playlist here if you can’t access the widget below.

Blondshell – Two Times. I was lighter on Blondshell’s highly acclaimed self-titled debut album when it came out in 2023, but this song, from her upcoming LP If You Asked for a Picture, is by far the best thing she’s ever done, with revealing storytelling with off-kilter harmonies over a mesmerizing guitar line.

Waxahatchee – Mud. I actually drove right by the actual town of Waxahachie on my last scouting trip to Texas, while I was listening to this song (and playlist), an extra track from the Tigers Blood sessions.

Sharon van Etten – I Can’t Imagine (Why You Feel This Way). I’ve never quite gotten the critical acclaim for van Etten, who often sings like she’s stoned, but she does have a great voice when she lets it rip, and I’ve sense a stylistic shift over her last two or three albums to include more rock and other genres and away from the minimalist arrangements of her earlier work.

Heartworms – Just to Ask a Dance. Heartworms, aka Jojo Orme, released her debut album Glutton for Punishment last month to some pretty glowing reviews. It’s a frenetic, energetic mix of gothic new wave, dance, and industrial elements, with plenty of guitars, calling back to the several points of the 1980s (there’s some early NIN in here) while managing to also sound modern and inventive.

Matt Berry w/Eric D. Johnson – Why on Fire? I didn’t know the British actor Matt Berry, who appeared on The IT Crowd and What We Do in the Shadows and voiced a character in The Wild Robot, was actually a musician first, with his first album coming out in 1995. His newest LP, Heard Noises, has gotten a ton of praise, but I actually just like this one song; the rest of it is very nostalgic, almost a throwback to the ‘60s, and not the part I particularly enjoy.

Sports Team – Bang Bang Bang. This is the best of the three singles Sports Team have released so far from their upcoming third album, Boys These Days, due out May 25^th. I loved this art-rock/post-punk band’s last record, Gulp!, which had great guitar-driven hooks and witty lyrics throughout, but the previous two singles they put out didn’t have the same energy this one does.

Sam Fender – Little Bit Closer. I confess I have to listen to Fender’s whole album People Watching, but this and the title track are both outstanding roots-rock tracks from a freaking British guy who just turned 30.

Fontaines D.C. – It’s Amazing to Be Young. A one-off single from the lads to commemorate one of the members becoming a father for the first time. Between this and “Favourite,” I might almost say they’d gone pop.

The Murder Capital – Death of a Giant. This Irish rock band just released their third album, Blindness, on February 21^st, featuring this track and “Can’t Pretend to Know.” I wrote in October that they’re somewhere between punk and post-punk, but this song is almost math-rock (I don’t love the term, but it fits), and definitely goes beyond their punk-ish roots.

Adwaith – Gofyn. I’ve included a few more Welsh acts in the last five years because my wife is of Welsh descent, but this band actually popped up on an American-based playlist I follow on Spotify. They sing in Welsh, and use a sort of spare, post-punk style that sounds very DIY. They just released their third album, Solas.

swim school – Heaven. I’ve seen this Scottish band described as indie-pop, grunge, and shoegaze, all of which sort of fits. I’m into their sound, whatever it is, and I bet they kick ass live. This track is very shoegazey; it’s their first new music since their “mixtape” Seeing It Now came out last April.

Preoccupations – Focus. Preoccupations does one of the best revivals of mid-80s post-punk, right down to the guitar tones, so I’m pretty much going to include any track they release on here … but come on, that guitar riff at the start is “Uncertain Smile,” right?

The Horrors – Ariel. The Horrors’ follow-up to their magnum opus, 2017’s V, comes out on the 21^st. Night Life seems like it’s going to turn hard into the psychedelic and shoegaze parts of their sound, based on the three singles so far.

Friendship – Free Association. These guys are from Philly and have put out four albums already, so I’m a little abashed that this is the first song of theirs I’ve ever heard. I love the music, the pulsing percussion lines and the haunting piano and string lines, but I do wish the singer would just … sing. He’s kind of warble-talking, and it detracts from the song.

The Tubs – Chain Reaction. Probably my least favorite single of the three released so far from this offshoot of the defunct band Joanna Gruesome. Their jangle-pop sound is right up my alley, although the earlier two singles had better hooks. They released their second album, Cotton Crown, today.

Tropical Fuck Storm – Goon Show. I suppose with a name like that, you kind of have to not give a fuck about anything, right? This song is weird and witty and at some points barely seems like a song. “It’s raining cats and dogma” is a great line, though. They’re promising a new album but have offered no details, so this is just a one-off single from the Melbourne supergroup.

Brooke Combe – Butterfly. Combe’s full-length debut, Dancing at the Edge of the World, came out on January 31^st, featuring this smooth ‘70s-infused R&B/pop number along with the superb “This Town.”

Self Esteem – Focus is Power. I hadn’t heard of Self Esteem, the nom de chanson of Rebecca Taylor, who was half of Slow Club, before this song, but it seems like the kind of pop banger that could easily take off with its gospel-backed chorus and its trite, vague lyrics about self-worth and being powerful. I still like the melody, though.

Little Simz feat. Obongjayar & Moonchild Sanelly – Flood. Simbi’s back, with her next album Lotus coming out on May 9^th. That’ll be her first full-length since 2022’s No Thank You, although she’s put out music in the interim via EPs and mixtapes. This track features more of her frequent collaborator Obongjayar (“Point and Kill”) than it does of Simz herself, which might be a negative if it weren’t for the tremendous beat behind all of their vocals. How is she only 31? I feel like she’s been recording for fifteen years now.

WOOZE – 4 Lovely Children. WOOZE’s self-titled debut album came seven years after their first release, and it hits the mark – the songs are ridiculous, bouncy, snarky, and just all-around fun.

Bartees Strange – 17. Strange just dropped his third album, Horror, and based on the four songs I’ve heard so far he’s expanding his sonic palate substantially, although I also understand the criticism of Jack Antonoff’s production style, which tends to mute Strange’s guitar work.

Anxious – Never Said. I don’t think these guys are an emo band, but that’s how I see them labeled in the music press; they’re somewhere between hard rock and hardcore, and even with some screamed vocals it’s pretty damn good. Their second album, Bambi, came out on February 21^st, and it’s in my queue.

Doves – A Drop in the Ocean. I didn’t love the new album, Constellations for the Lonely, anywhere near as much as I’d hoped after hearing the killer first single “Renegade.” It’s just uneven, in both songwriting and production, and the third single “Saint Teresa” was just a mess. Singer Jimi Goodwin doesn’t always sound fully invested in the songs, which is disappointing as his voice is my favorite of the various band members’.

Momma – Bottle Blonde. This is more like it after their last single was heavily derivative of Veruca Salt’s “Seether,” more in that lo-fi indie-pop vein that characterized their best track to date, “Speeding 72.”

Andy Bell – apple green ufo. That’s the Andy Bell of Ride, not the one of Erasure; Bell just released a solo album Pinball Wanderer that is a spaced-out psychedelic trip, nothing like his music with Ride or Hurricane #1 or Oasis, and even includes a mellow cover of “I’m in Love with a German Film Star.”

Verbian – Fruta caída do mar. I get emails from a lot of music publicists, too many to even open most of them – it’s not like this is my job – but something got me to open this one, and even though it’s not the sort of experimental metal that email led me to expect, it is novel, with the percussion especially standing out here for the way it gives the song different textures throughout.

Mekons – War Economy. I didn’t realize the Mekons were still going, but they’ve been quite prolific, at least up until the pandemic, after which they didn’t put out any new music for five years, until last month’s Horror. I also don’t know their music very well, or even their history, given how often I confuse them with the Melvins, two bands with nothing at all in common.

Raven – Can’t Take Away the Fire. I can’t believe these guys are still going; Raven started in 1974, became one of the leaders of the New Wave of British Heavy Metal, never breaking through commercially beyond that core audience, and they’ve never had more than a brief hiatus in their fifty years. More notable is that the band still has its two original members, the Gallagher brothers – no, not them – with John Gallagher still handling vocals and hitting the high notes at age 66.

Filed Under: Uncategorized Tagged With: 2025 in music, alternative, indie, Music

→ February 11, 2025
→ By keith

Music update, January 2025.

This playlist is a bit late as I was finishing up the last of the team rankings, but it includes songs released between when I published my top 100 songs of 2024 and January 31^st, so anything that’s come out in the last eleven days will go on the next playlist. As always, if you can’t see the widget below you can access the playlist here.

SAULT – The Lesson. SAULT dropped an album with no warning, as they typically do, right before Christmas, the religious-themed Acts of Faith. It’s a more subdued effort and has less of the over social activism of their previous albums, still with several really compelling tracks even though much of the lyrical content is foreign to me.

Little Simz – Hello, Hi. A surprise drop from the Mercury Prize-winning British rapper, her first new music since the too-brief Drop 7 EP came out this time last year, although there’s no word on a new album.

Goat feat. MC Yallah – Nimerudi. I knew Goat, but not MC Yallah, a Kenyan-born rapper now based in Uganda who rhymes in four languages. She’s great, combining technical skill and a really easy flow, so I was into it even when I didn’t get the language she was using. I feel like she must have grown up listening to a lot of Queen Latifah and Native Tongues.

Skunk Anansie – An Artist is an Artist. Definitely didn’t know Skunk Anansie was a going concern, or that Skin was 1) the chancellor of a British university and 2) awarded an OBE, but I don’t know a lot of things, so there’s that. Anyway, this is the first new music from Skunk Anansie since 2022 and they’ve hinted that there might be an album coming in 2025, which would be their first in nearly a decade. I know their ‘90s output more than anything from the last 20 years, but this song is one of their most accessible – without losing any of the rage and fire that made them icons in the first place.

Doves – Cold Dreaming. Musically, this is one of their best tracks post-Last Broadcast. I wish Jimi had handled the vocals, and the opening line of “God knows, it ain’t easy” is hackneyed, taking the song down a peg, but it’s still a great sign for Constellations For The Lonely, which comes out on Valentine’s Day.

Courting – After You. Courting’s last album, New Last Name, made my list of the top albums of 2024, and they’re already back with another LP, Lust for Life, Or; ‘How To Thread The Needle And Come Out The Other Side To Tell The Story’, dropping March 14^th with this track and last fall’s “Pause at You.” I’m just a fan of their angular art-rock sound, and they seem to have an endless supply of melodies to throw on top. Plus they just always sound like they’re having fun.

Swervedriver – Volume Control. Swervedriver often get lumped in with the Britpop and/or shoegaze movements because they were contemporaries of those bands and sometimes had some similarities in the production style, but they had a harder rock edge and more blues influence. I believe this is their first new song in six years, since their last album, Spiked Flower, came out in January of 2019, and once again it has that heavier rhythm guitar and bass presence that I think brings almost a metal influence to their alternative rock vibe.

WOOZE – Running Outside with Heather. Every time this song comes on, I think it’s from one of my playlists of 1970s rock, but then it shifts gears into a sort of dance riot – which is WOOZE’s specialty.

The Darkness – Rock and Roll Party Cowboy. Not their strongest, I admit, but “I’m a rock and roll party cowboy/and I ain’t gonna read no Tolstoy” is a hell of a couplet. The guitar solo’s appropriately ridiculous as well. Dreams on Toast comes out March 28^th.

Sunflower Bean – Champagne Taste. I find it fascinating that Sunflower Bean had a hit with “Moment in the Sun” and immediately changed their sound to a harder-edged, almost glam rock circa 1978 vibe, rather than leaning into the song that made them somewhat popular. Good for them.

Lambrini Girls – Nothing Tastes as Good as It Feels. This punk duo’s debut album Who Let the Dogs Out? has 11 tracks and runs just 29½ minutes, but it’s packed with witty, incisive lyrics about misogyny and gender politics. “Company Culture” is still my favorite from the record.

Heartworms – Extraordinary Wings. Jojo Orme released her debut album Glutton for Punishment in January, and it’s packed with tracks like this one that blend industrial, new wave, and goth elements but that still end up with memorable hooks.

Mourn – Verdura y Sentimientos. Mourn’s garage-rock sound hasn’t changed much over the last decade, since the early single “Gertrudis (Get Through This)” hit my radar, and I’m good with that – it’s raw, emotional, tinged with post-punk, and never overproduced. This was one of two songs they released together, with the other titled “Alegre y Jovial.”

Momma – I Want You (Fever). I like Momma, and I like this song a lot, but my God is this derivative of … well, listen to the track and sing it with me: “I want you/Fever/Can’t fight/the seether.”

Tunde Adembimpe – Drop. The singer of TV on the Radio gave his debut solo album a name, Thee Black Boltz, and a release date, April 18^th, along with this second single, not quite as strong as “Magnetic” but still pretty good if, like me, you like some of TVotR’s more rockin’ stuff.

Bartees Strange – Wants Needs. Strange had my #1 song of 2022 with “Heavy Heart” off his sophomore album Farm to Table, but since then he’s just had a few scattered singles, nothing with the same energy – until this one, the first single ahead of the release of his third album, Horror, this Friday.

Lord Huron feat. Kristen Stewart – Who Laughs Last? I mean, is it a gimmick? It kind of feels like one to have Stewart read some pretentious lines over what is otherwise a strong backing track with a pounding electronic beat and a solid hook in the chorus.

Mogwai – Fanzine Made of Flesh. This Scottish experimental rock band released their eleventh album, The Bad Fire, in January. I’ve never been a huge fan because I don’t find a lot to grab onto in their songs, but I do appreciate that they’re generally pushing boundaries – their songs are interesting even if they’re not catchy.

Population II – Le thé est prêt. Population II does really old-school psychedelic/prog rock, right down to mimicking the production style; it’s an anachronism and I kind of dig their willingness to lean into the quaintness of the sound. They’ve released three albums, the first of which comprised just two songs but ran about 35 minutes; their fourth LP, Maintenant jamais, comes out on March 28^th.

clipping. – Change the Channel. Not quite as strong as “Run It” but still compelling work from Daveed Diggs & company ahead of their more industrial-leaning album Dead Channel Sky, due out March 14.

bdrmm – Infinity Peaking. bdrmm’s third album Microtonic comes out on the 28^th; I keep seeing them described as “shoegaze,” a label that gets slapped on everyone now, but they are way more avant garde than typical shoegaze. It’s just that they have some of that wall of distortion going on around all of the experimentation. This is where I thought black midi was headed before they broke up or went on hiatus. (I’d say that twice over for Squid, whose newest album is once again ambitious and experimental, but the lyrics are often disturbing and the music heads too far afield.)

The Horrors – More than Life. Another single ahead of the release of their sixth album, Night Life, which will be their first full-length record since 2017’s V., their best to date and one of the best albums of that decade. This is a little more downtempo than “The Silence that Remains,” the first single this psychedelic/shoegazey rock band put out from the record late last year.

Pastel – Heroes’ Blood. This British band that blends shoegaze and Britpop elements put out their debut album, Souls in Motion, last month; the best songs are mostly ones we’ve heard already and that I’ve put on previous playlists, including “Your Day” and “Leave a Light On.” This was my favorite of the songs they hadn’t released before.

The Weather Station – Neon Signs. The Tamara Lindeman-led alternative folk project released their seventh album, Humanhood, in January; I found it a mixed bag but there are a couple of standouts, including this and “Window.”

Miki Berenyi Trio – 8^th Deadly Sin. This track from the former lead singer/guitarist of Lush has a similar vibe but lacks the acerbic wit of Lush’s best tracks like “Single Girl” and “Ladykiller.” Her new group will release its first album Tripla on April 4^th.

Japanese Breakfast – Orlando in Love. I really need to read Crying in H Mart, Michelle Zauner’s acclaimed and best-selling memoir, since I like at least some of her music – although this track leans towards the lighter end of her music. Her stuff is so poppy that she’s often on that line between stuff I find very catchy and stuff that feels a bit twee.

Freckle – Paranoid. Freckle is Ty Segall plus Color Green’s Corey Madden; they put out their self-titled debut album on the last day of January, and a lot of it is mopey and boring, but this song is fantastic – you can hear both artists’ influence here, with the swirling chord changes I associate with Color Green and Segall’s brand of off-kilter melody in the vocals.

The Tubs – Narcissist. A little janglier tune this time from this Welsh band that rose from the ashes of Joanna Gruesome.

The Wombats – Can’t Say No. I’m a little concerned about the upcoming Wombats album Oh! The Ocean, due out on the 21^st, as the singles they’ve released so far have a definite album-tracks feel to them, with neither the big hooks or the clever lyrics of even their last album, 2022’s Fix Yourself, Not the World.

Brooke Combe – This Town. I had Combe’s “Black is the New Gold” on my top 100 tracks of 2023, then lost track of her (no pun intended) until this ebullient song, from her new album Dancing at the Edge of the World, popped up on a playlist I subscribe to on Spotify. It’s quite different from the earlier song beyond her vocals, still in the intersection of pop and R&B but with more of the former in some of the vocals and the string arrangements.

NIJI – Mo ti délé. I’ve had a few of NIJI’s tracks on playlists over the last year-plus, but just learned that he was the organist for Knicks games at some point. The jazz pianist’s next album, Oríkì, comes out on the 28^th.

Samba Touré – Assouma Kagne. Touré is a Malian desert blues guitarist, no relation (as far as I can tell) to his late mentor, the legendary Ali Farka Touré, or Ali Farka’s son Vieux, sometimes known as “Samba.” This Samba’s style is more acoustic than that of either of those two artists or of the Nigerian superstar Mdou Moctar, which to my ears makes it seem less rooted in the American blues tradition. Samba just released his tenth album, featuring this midtempo track.

Cymande – Chasing an Empty Dream. I had never heard of Cymande before this track, even though the band is older than I am, releasing their self-titled debut album in 1972. They put out four albums in ten years, broke up in 1981, then reunited to play some shows in the early 2000s after their music found a renaissance through sampling and via Spike Lee’s use of one of their tracks in two of his films. They put out an album in 2015, their first in over 40 years, and then just released their next one, Renascence, in January. It’s very old-school 1970s funk with a Caribbean tilt; I hear a lot of Commodores, Ohio Players, even some R&B like Curtis Mayfield in this particular song. Also, bassist/singer Steve Scipio was once Attorney General of Anguilla. How many bands can claim that?

Filed Under: Uncategorized Tagged With: 2025 in music, alternative, hip-hop, indie, jazz, Music

→ December 1, 2024
→ By keith

Music update, November 2024.

November was a big month for new music, including three albums that should show up on a lot of best-of-2024 lists and several singles I didn’t anticipate from artists I love. As always, if you can’t see the widget below you can access the Spotify playlist here.

Michael Kiwanuka – Small Changes. Kiwanuka’s self-titled 2019 album was my #2 album of that year and won the Mercury Prize the following September; his follow-up, Small Changes, came out in November and represents a big stylistic shift away from the previous record’s rock/soul hybrid with a lot of guitar towards a much slower, folk-influenced, bass-heavy sound. I prefer the previous album, but Kiwanuka is such a great songwriter that I still enjoyed Small Changes even though I almost always go for more uptempo stuff.

Jorja Smith – Don’t Let Me Go/Loving You. Smith wrote these two songs over a decade ago, but just recorded and released them, with guest vocals from Maverick Sabre on the second track.

Kendrick Lamar – reincarnated. Kendrick’s new album GNX omitted his biggest hit of the year, “Not Like Us,” instead delivering a motley collection of songs that vary widely in style, tone, and tempo; it’s a mixed bag, led by this track (which Pitchfork’s review called “unlistenable”) with a fascinating call-and-response bit towards the end, “Gloria” (with SZA), and “squabble up.”

Tunde Adebimpe – Magnetic. Adebimpe is the lead singer of TV on the Radio, and will release his first solo LP at some point in 2025; this single has a lot of the energy of TVotR’s best tracks like “Wolf Like Me” and “Mercy.”

Doves – Renegade. I didn’t expect to hear anything further from Doves after a middling response to their comeback album The Universal Want and lead singer/bassist Jimi Goodwin’s mental health struggles, which led the band to cancel the end of their 2021 tour and will have him sit out their upcoming UK tour this winter. Goodwin is on this single and their upcoming album, Constellations for the Lonely, due out on Valentine’s Day.

Sam Fender – People Watching. This title track from Fender’s third album, due out on February 21^st, sounds like a great new song from the Killers, and I mean that as a compliment. I’m flummoxed at the lack of attention or popularity Fender has here in the U.S.

The Lathums – Stellar Cast. The Lathums have always earned comparisons to the Arctic Monkeys, but this might be the most overt reference to their main influence yet; singer Alex Moore sounds more like Alex Turner than ever before, and the whole enterprise could have come off Favourite Worst Nightmare. Their third album, Matter Does Not Define, comes out on March 7^th.

The Rills – I Don’t Wanna Be. Another band heavily influenced by the Arctic Monkeys, the Rills tend a little more towards the punk-pop side – and I can pretty easily see them getting lumped in with the ‘landfill indie’ subgenre of the late aughts and early teens. The Rills’ debut album Don’t Be a Stranger came out on November 1^st; I found it a little flat overall, with this by far the best track.

Elbow – Adriana Again. I’m becoming an Elbow fan, very late in the game, as I really enjoyed their album Audio Vertigo from earlier this year, and this new single – ahead of an EP to come out in early 2025 – is a pulsing, driving banger with a tremendous hook in the chorus.

WOOZE – Good Old Fashioned Fun. WOOZE’s self-titled debut album comes out on February 14^th, although it follows a slew of singles and EPs; their sound is over-the-top dance-pop with plenty of guitars underpinning it, and they’ve got a great ear for a good hook.

Courting – Pause at You. Courting’s second album New Last Name came out in January and will be on my ranking of the top albums of the year, but they’re back already with another single ahead of the release of their third album, Lust for Life, Or: How To Thread The Needle And Come Out The Other Side To Tell The Story, due out on March 14^th. I love their just off-center take on indie pop, sometimes called “hyperpop,” and I find their best songs really infectiously happy.

King Gizzard & the Lizard Wizard – Phantom Island. King Gizzard only put out one album this year, August’s Flight b741, which is a light year for them. This track was recorded in the same sessions but didn’t make the cut; I can’t even tell you if it should have made the album because they put out so much music that I find I often don’t remember their albums or individual songs beyond maybe recalling the style they went after on a particular record.

Nice Biscuit – Desolation. This Australian psych-rock band released their sophomore album, SOS, on October 4^th, with “The Rain” the best track by far and this one probably my second favorite.

Inhaler – Your House. The new album from this Irish pop/rock band, OpenWide, comes out on February 7^th; I feel obligated to mention that lead singer/guitarist Elijah Hewson is Bono’s son, if only because otherwise someone would say, “hey, that guy sounds a ton like Bono.” He does, though.

Allie X – Weird World. I didn’t love Girl With No Face, the latest album from this Canadian electro-pop artist, when it came out in February, and I still don’t really – a lot of it is too deliberately weird and offputting – but on revisiting it with the release last month of the deluxe edition, I do like this opening track, which is probably the most straightforward dance/new wave track on the album.

Lucius – Take a Picture. I don’t include many covers on these lists, but I’m putting two on this month because they are so interesting. This cover of the crossover hit by Filter from 1999 is amazing, because the harmonies in the vocals take the song somewhere completely different than Richard Patrick’s flat singing.

White Denim – Connection. White Denim are fairly experimental to begin with, so their cover of Elastica’s “Connection,” which was itself so derivative of Wire’s “Three Girl Rhumba” that Wire sued and won, is anything but faithful.

Manic Street Preachers – Hiding in Plain Sight. The Manics’ 15^th album, Critical Thinking, comes out on January 31^st, with this the second single off the record. I’ve been listening to their biggest hit, “If You Tolerate This Your Children Will Be Next,” quite a it in the last four weeks.

Griff – Last Night’s Mascara. This one-off single has existed in demo and live forms before, but Griff chose to record a proper studio version after getting a strong response from fans as she opened for Sabrina Carpenter on part of the latter’s U.S. tour in October. (I would argue Carpenter should be opening for Griff, but alas.)

The Weather Station – Window. This track comes off the Weather Station’s upcoming seventh album, Humanhood, and gives me a strong School of Seven Bells vibe, especially from their final record, SVIIB.

The Wombats – Blood on the Hospital Floor. This is a bit more like the core Wombats sound than the prior single, “Sorry I’m Late, I Didn’t Want to Come,” with more energy and wittier lyrics. Their seventh album, Oh! The Ocean, is due out February 21^st. I feel like they’ve settled into a predictable groove of producing solid indie-pop tracks without really ever approaching the highs of Glitterbug.

Phantogram – Jealousy. I had no idea Phantogram had a new album coming out until Memory of a Day dropped on October 18^th; it’s very much their classic sound, although by the end of the record I’d kind of lost track of individual songs. This opener is the standout, I think, although there may be some primacy bias at work here too.

Mogwai – Lion Rumpus. This isthe third single from the Scottish band’s eleventh album, The Bad Fire, due out January 24^th.I’ve never really gotten Mogwai, although I concede it’s probably the kind of music that rewards repeat listening. This particular track is almost metal in its use of distortion and walls of sound.

Opeth – §6. The Last Will and Testament is Opeth’s first album in five years and their first to feature death-metal vocals since 2008, although I’d argue they’re used judiciously here, and singer Mikael Åkerfeldt has said in many interviews that he brought the growls back because they fit the lyrics. It’s a concept album about the reading of a will and the drama that ensues, and as a result highlighting individual tracks is difficult – they do blend one into another, for sure. If pressed, I’d say “§3” and “§1” are my favorites, but the whole thing is mesmerizing, and has some surprising cameos by Jethro Tull’s Ian Anderson and Europe’s Joey Tempest.

Tribulation – Poison Pages. This Swedish band went from boring death metal to more traditional heavy or gothic metal with death growls to something that’s barely even metal on their new album, Sub Rosa In Æternum, which features very little of those death-metal vocals and sounds a lot more like Sisters of Mercy than any of their forebears in Swedish metal. (I’m not the only person to notice that.)

Tungsten – Falling Apart. Tungsten is a Swedish band founded by the former drummer of HammerFall along with two of his sons; this song is heavier than HammerFall’s typical throwback metal style, although the soaring vocals are there (with some screaming too). But if they’re from Sweden, shouldn’t they be called Wolfram?

Filed Under: Uncategorized Tagged With: 2024 in music, alternative, hip hop, indie, melodic death metal, metal, Music, progressive metal

→ November 1, 2024
→ By keith

Music update, October 2024.

After all of that – by which I mean all the new tracks I listened to in the past month – October was one of the weakest months of the year for good new music. We did get two very strong albums that I’ve already featured on previous playlists in Katie Gavin’s What a Relief and Japandroids’ swan song Fate & Alcohol, and I’ve got a few left to work through. In the meantime, here are 24 songs that made the cut; as always, you can access the playlist here if you can’t see the widget below.

Waxahatchee – Much Ado About Nothing. A brand-new track from Katie Crutchfield just seven months after she released her latest album Tigers Blood … and this might be better than anything on the LP, which is really saying something.

Humdrum – There and Back Again. This is about as perfect a jangle-pop track as you’re going to find in this decade. Holy cow. I haven’t gotten to their debut album, Every Heaven, yet, but it’s next up in my queue.

Royel Otis – If Our Love Is Dead. The algorithms have been trying to convince me to like Royel Otis for a year, at least, but I just haven’t liked any of their songs all that much, or even remembered them. This track has a great little hook in the chorus, though. This indie pop due is huge in their native Australia, earning 8 ARIA nominations for their debut album PRATTS & PAIN; this song comes off the deluxe edition, retitled PRATTS & PAIN – It Ain’t Over Til It Ends.

The Tubs – Freak Mode. The Tubs are led by the former guitarist from Joanna Gruesome; Pitchfork’s review of their 2023 debut album Dead Meat referred to the “chiming sound of 80s college rock,” and it definitely has a lot of that sound – jangle-pop is back, baby – but this song has an incredible urgency to it that goes beyond those college-radio staples that didn’t stick except for their nostalgia value. It reminds me a little of The Dead Milkmen’s “Punk Rock Girl,” but more melodic and less annoying.

Momma – Ohio All the Time. Momma broke out a little in 2022 with “Speeding ’72,” which made my top 20 of that year, but it’s just been a few scattered singles since then. This new track is pretty solid, with a great hook in the chorus and a similar contrast between the sweet-sounding vocals and the ‘70s-style distortion of the crunchy guitars.

The Smile – Eyes & Mouth. The Smile’s third album, Cutouts, includes some tracks recorded during the sessions for their last LP, but the sound is so different – the three tracks I’ve heard so far are all way jazzier funkier, with much clearer influence from drummer Tom Skinner of Sons of Kemet and less of the mopey sound that Radiohead critics deride.

Black Doldrums – Hideaway. Darkwave trio Black Doldrums released their second album, In Limerence, in October, highlighted by this Bauhaus-y track driven by a twangy guitar line that almost begs for resolution.

Crows – Every Day of Every Year. I’m a huge Crows fan, as they come in somewhere between post-punk and hard rock; they should do a double bill with Kid Kapichi, who I unfortunately missed on their U.S. tour because I was out of town. Crows’ third album, Reason Enough, came out at the very end of September.

Kid Kapichi – Newsnight. Speaking of these lads, they released this track in October, one of four new songs on the deluxe version of this spring’s There Goes the Neighbourhood.

The Murder Capital – Can’t Pretend to Know. Sitting somewhere between punk and post-punk, this Irish group are more true to their style than their more ambitious and expansive countrymates Fontaines D.C. This track comes from the ongoing sessions for their third album, release date unknown.

Corker – Distant Dawn. Corker hail from Cincinnati, and this track sounds like a mash-up of Preoccupations and very early Killing Joke, complete with vocals that sound like they were recorded through a string connected to a coffee can.

Anxious – Counting Sheep. Anxious’s debut album Little Green House was one of my favorites of 2022, but then they dropped completely out of sight for almost two years. I was thinking about how they’d vanished a couple of weeks ago, only for this song to show up on my Spotify Release Radar a few days later. Serendipity, I suppose. Anyway, Anxious gets labelled as emo but they’re sharper and more interesting than just a revival of that subgenre. Their second album is due some time next year.

Sløtface – Quiet on Set. Sløtface’s latest album, Film Buff, is their first as a de facto solo project for vocalist Haley Shea, and the good news is that it’s on par with their previous two releases. If there’s a downside, it’s that there’s nothing new here, either; it’s really catchy pop-punk with witty lyrics.

La Sécurité – Detour. This Montréal-based “art punk” group released its debut album, Stay Safe!, in 2023, and returned last month with this throbbing, dissonant, and very dance-heavy track.

The Cure – A Fragile Thing. I read somewhere that Robert Smith wanted to go back to the Disintegration era of The Cure on this comeback album, and on this track, at least, he has succeeded. I think that’s their best record, so I may be biased in my opinion here.

Pastel – Leave a Light On (Velvet Storm). The last time I included a Pastel song, one of you commented that it was a blatant ripoff of The Verve; I don’t exactly hear that, but I get the criticism, and I think it’s as pronounced a similarity this time – although I hear more Primal Scream on this track.

The Horrors – The Silence that Remains. It’s a little ponderous, maybe a little pretentious, but Faris Badwan has earned at least some benefit of the doubt at this point. The Horrors’ sixth album and their first in nearly six years, Night Life, is due out in March.

Mindy Smith – Quiet Town. Mindy and I met in second grade in 1979, and we happen to share a birthday, although I’m a year younger than she is (I was the youngest person in my class). This is the title track from her latest album, her first one in 12 years, which also features “Jericho” and “The Hour of My Departure” (the latter with Daniel Tashian). I believe we are the only two members of our high school graduating class to have our own Wikipedia pages.

Lucius – Old Tape (feat. Adam Granduciel). A one-off single, for now, featuring the lead singer/guitarist of The War on Drugs; I saw both artists in September at the Mann in Philly, at which point Lucius’s Jess Wolfe was something like 11 months pregnant.

The Wombats – Sorry I’m Late, I DIidn’t Want to Come. This is mid as Wombats songs go, mostly because I think they’re capable of much catchier tracks, but I’ll take a mid Wombats song over a lot of other bands’ singles.

Orla Gartland – Backseat Driver. I wasn’t familiar with Gartland, an Irish singer-songwriter who released her debut album Woman on the Internet (great title) in 2021, until I heard this song, off her new album Everybody Needs a Hero. It’s a bouncy slice of indie-pop, slyly nodding at teen popstars but with lyrics that belie her age (she’s a ripe old 29).

WOOZE – Fantastic Fever. WOOZE is half of a defunct band first called Movie and then called Screaming Peaches; they put out a handful of songs, including the ridiculously fun “Mr. Fist,” then split up. WOOZE’s sound is more trashy glam-rock, although there’s still a danceable beat to all of their tracks. This is the best of the three singles I’ve heard from them this year, over “Sabre Tooth Spider” and “Weapons of Mass Seduction.”

Goat – Goatbrain. One of you suggested I check out the latest album from this anonymous Swedish fusion group, also called Goat; it was a solid tip, as I do like a lot of what they’re doing, blending sounds from various global music styles into a pretty cohesive whole, although the vocalists aren’t very strong and it holds the album back.

Blood Incantation – The Stargate [Tablet II]. Blood Incantation’s latest album Absolute Elsewhere is the most highly acclaimed metal album of 2024, and it is an impressive work of musicianship, comprising two songs, each in three “tablets,” running a total of 43 minutes and running the gamut from spacey 1970s prog-rock to Spiritual Healing-era Death. That latter bit means parts of the album are just unlistenable; the combination of blast beats and death growls just turns into noise to me, and I’m really here for the guitarwork anyway. This is the one track out of the six that is largely free of that nonsense, and despite running just five minutes, it gives you an idea of the stylistic range of the album.

Filed Under: Uncategorized Tagged With: 2024 in music, alternative, indie, metal, Music, progressive metal

→ October 2, 2024
→ By keith

Music update, September 2024.

Another month where I thought things started slow but by the turning of the calendar I found myself with 30+ songs saved and had to cut down to the ones I considered the best or most interesting. We also had a few albums come out on the final Friday that I’m still working through, so some tracks may bleed into October’s playlist. As always, if you can’t see the widget below you can access the playlist here.

Michael Kiwanuka – Lowdown (part i). Kiwanuka’s follow-up to his Mercury Prize-winning album KIWANUKA, called Small Changes, comes out on November 15^th. This single, his second this year, is a lo-fi, bluesy track that recalls Jimi Hendrix’s version of “Hey Joe.”

clipping. – Run It. The first true new track from Daveed Diggs & company this year, not counting their wide release of 2020’s “Tipsy,” “Run It” has Diggs’s rapping front and center again, as in the best tracks from their last full-length album, Visions of Bodies Being Burned. The noise-rap trio are working on a new LP, possibly for next year.

Ezra Collective feat. Olivia Dean – No One’s Watching Me. Ezra Collective won the Mercury Prize last year for their 2022 album Where I’m Meant to Be, an album I hadn’t heard before but didn’t find that catchy. This spring, they started releasing singles from their new album, Dance, No One’s Watching, which just came out on Friday, and they’ve pretty much all been bangers. There’s definitely more emphasis here on melody, and they go well beyond modern jazz into 1970s soul, funk, Afrobeat, and more. It’s almost a full hour of music across 19 tracks.

flowerovlove – erase u. This 18-year-old bedroom pop artist had one of my top 20 songs of last year with her song “Next Best Exit,” and this song is another sunny pop gem in a similar vein. Her latest EP, ache in my tooth, comes out October 11^th.

FKA Twigs – Eusexua. FKA Twigs’ third album, also called Eusexua, is due out on January 24^th, which will be her first full-length LP since 2019’s Magdalene. In interviews, she’s promised a greater techno influence, and that’s certainly evident here in the backing music, but it’s not a techno song, or even much of a dance track, and her feathery vocals are by far the most prominent part.

Divorce – All My Freaks. This Nottingham quartet are suddenly everywhere, with this track getting quite a bit of media coverage for a band that won’t release its first album until March. It’s undeniably catchy, though, in a sort of alt-pop way. Also, the bassist/singer is a former actress named Tiger Cohen-Towell, which might be the most English name I’ve ever heard in my life. P.G. Wodehouse would have rejected it as too much.

Sløtface – Leading Man. Sløtface’s first album as a solo project for singer Haley Shea, called Film Buff, came out on Friday, but their sound is pretty similar to what it was before the other three band members departed: it’s witty punk-pop with strong hooks and a ton of cultural references. I’m glad she didn’t retool their sound.

Japandroids – All Bets Are Off. I just could not get into Celebration Rock, Japandroids’ big breakthrough album, but liked their 2017 follow-up Near to the Wild Heart of Life, and now I’m enjoying all of the singles from their upcoming album, Fate & Alcohol, except that they’ve announced this is their swan song. Good stuff.

Sunflower Bean – Lucky Number. Sunflower Bean’s new EP, Shake, has five songs that are mostly heavier guitar-driven stuff than what they’d been releasing, although I think if you go back to their first album and songs like “Wall Watcher” you can hear the seeds of this sound in there. “Moment in the Sun” is a great pop single, but I don’t think it’s representative of the band’s typical output.

High Vis – Drop Me Out. This British punk band’s third album Guided Tour will come out on October 18^th, and this is the third single from the record, but this was actually the first track of theirs I’ve heard. There’s at least some melody lurking here beneath the shouted vocals, which at least superficially nod to singer Graham Sayle’s working-class roots.

Lambrini Girls – Company Culture. Then there’s Lambrini Girls, a straight-up punk duo from Brighton with very progressive politics and a great ear for melody even within the strict confines of the genre. They’re coming to the U.S. for just three dates, all in NYC, in early December.

Oceanator – Lullaby. I wasn’t familiar with Elise Okusami, who released her newest album Everything is Love and Death on August 30^th, until hearing this and “Get Out” over the past month. This track opens like a melodic death metal song, but then veers back into more accessible hard rock territory, and you can hear metal influences throughout the album even though at no point would I call her music ‘metal.’

Pale Waves – Glasgow. I’ve never been a big fan of Pale Waves, who seemed to have better publicists than tracks, but this one from the Manchester pop/rock quartet has one of their best hooks.

Franz Ferdinand – Audacious. Franz Ferdinand peaked with their first three albums, but in the last fifteen years they’ve released just two albums – neither particularly good – and a couple of singles from a greatest-hits record, so when I say this is the best song they’ve released since 2009, that’s sort of damning with faint praise. It’s still clearly an FF song but with a song structure and tonal shifts drawn more from 1990s Britpop than their 1970s/early 1980s-influenced early work.

Blossoms – I Like Your Look. Blossoms’ last album was very Lord Huron/Head and the Heart/Ryan Adams, but this new album, Gary, is a big leap for them, a more ambitious medley of sounds that draws on new wave, notably the New York scene (I can’t hear anything but Blondie on this song); and 1970s soul (“What Can I Say After I’m Sorry”), without totally abandoning their previous sound (“Perfect Me,” the title track). I liked a couple of songs off Ribbon Around the Bomb, but this is a welcome swing for the fences, even if they don’t all connect.

Atlas Genius – End of the Tunnel. My daughter alerted me to this new album from the Australian quartet, whose last full-length came out in 2015. The best track on the LP is “Elegant Strangers,” which they released as a single in 2021, and it also includes the one-off tracks from the late 2010s “63 Days” and “Can’t Be Alone Tonight”; this is the second-best song on the album after “Elegant Strangers.”

Temples – Day of Conquest. This track didn’t make the cut for 2014’s Sun Structures, so it’s on their upcoming EP of B-sides Other Structures, due out October 4^th.

Foxing – Barking. Foxing’s new self-titled album was also self-produced and self-released, and it is the sound of a band being completely liberated from any label expectations. Opener “Secret History” starts out so quietly you might be tempted to turn up the volume, which would be a mistake around the two-minute mark when the death metal screaming starts up (is this Deafheaven?). “Hell 99” has guitarist Eric Hudson screaming “Fuck!” repeatedly in the heaviest track on the record. It feels like a window into someone cracking up, an album full of existential dread, angst, repressed anger finding any outlet to release the pressure. It’s a marvel and it’s also, at times, very hard to listen to. I included “Barking” here because it’s one of the most accessible tracks on the record, and in some way the most recognizable to fans of Nearer My God or Draw Down the Moon. Foxing’s interview with Stereogum is worthwhile reading if you’re a fan of the band.

Razorlight – Zombie Love. Razorlight were one of the original “landfill indie” bands, as Andrew Harrison coined the term in 2008 right before the release of their third album, which underperformed and put them into a decade-long hiatus.

Hinds – Mala Vist. Hinds’ fourth album, Viva Hinds, came out last month, their first new music since half the band quit in 2023, and it’s their best album yet.

Katie Gavin – Inconsolable. I couldn’t believe this was Gavin (also of MUNA), as it’s a straight-up country song and features Sara and Sean Watkins of bluegrass icons Nickel Creek. Gavin’s solo debut What a Relief comes out October 25^th and all three singles to date have been outstanding.

The Aces – The Magic. The Aces return with a slightly funky pop track ahead of their upcoming, fourth album. This 2023 BBC profile of the Utah-born members’ journey, with three coming out as queer and all four leaving the Mormon church, explains a lot of the opening up of their sound since their second album came out right as the pandemic hit.

The Cure – Alone. The Guardian called this song “majestically wreathed in misery and despair,” and if I just told you that phrase and asked you to name the band, The Cure would probably be in your first three guesses, right? “Alone” is a clear attempt to bring the band back to its Disintegration peak, and is the first single from their first album since 2008, Songs from a Lost World, due out November 1^st.

Wolfgang Press – Take It Backwards. Wolfgang Press were part of the latter wave of the post-punk movement in the 1980s, but really peaked with their 1991 album Queer, when they ditched most of their funereal goth vibes and went for a dance/funk sound that was unlike almost anything else of that moment because they still ultimately sounded like Wolfgang Press. Their cover of “Mama Told Me (Not to Come)” was a modest hit in the U.S., and was followed by the one-off single “A Girl Like You,” which was their biggest hit, but after their next album flopped in 1995 they appeared to be done. They’re back now with their first new album in 29 years, A 2^nd Shape, which came out on Friday; the members are probably about 65 years old at this point, so I’m fascinated to give it a spin.

Flotsam & Jetsam – The Head of the Snake. I Am the Weapon, the fifteenth album from these thrash stalwarts, is more of the same, and I mean that in the best possible way. They still have two members from their 1980s peak, singer Eric Knutson and guitarist Michael Gilbert, so the core sound hasn’t changed much, and I admit I’m just happy to hear anyone still producing that particular strain of thrash.

Opeth – §3. Opeth’s new album The Last Will and Testament will come out on November 22^nd, and is the first Opeth record to include death-metal elements since 2008’s Watershed … but this song is straight prog-metal in line with their last four albums, so it’s clear the death growls and such won’t be present everywhere on the album. I love all Opeth, notably Blackwater Park, which is a progressive death metal album through and through, but sometimes their musicianship can get clouded out by the growled vocals. Blackwater Park is especially strong for its long instrumental passages, often comprising several movements, so that when the vocals return there’s a real tonal shift and a clear demarcation between sections. I’m hopeful based on the first two tracks that The Last Will and Testament will be the same.

Filed Under: Uncategorized Tagged With: 2024 in music, alternative, hip hop, indie, jazz, metal, Music, progressive metal, thrash

→ September 5, 2024
→ By keith

Music update, August 2024.

August brought a bunch of contenders for my year-end albums list, with LPs from Jack White, Fontaines D.C., Zeal & Ardor, Tank and the Bangas, and others, plus a surprise return from Opeth, a welcome single from Olympic stars Gojira, a farewell track from one of the most influential American punk bands, and a return from a band I was afraid had called it quits. As always, you can access the playlist here if you can’t see the widget below.

Gojira feat. Marina Viotti and Victor Le Masne – Mea Culpa (Ah! Ça ira!). You know this song already, as it was the highlight of the stunning Opening Ceremonies to the Paris Olympics; now we get a studio version that packs the same punch, albeit without the visual impact of Gojira playing on the balconies of an old castle along the Seine.

Jack White – Old Scratch Blues. White’s new album No Name is his best solo LP to date, a return to his roots in classic rock and blues sounds from the 1940s through the 1970s, highlighted by this track, “Bless Yourself,” and “It’s Rough on Rats (If You’re Asking).”

Fontaines D.C. – Here’s the Thing. Fontaines’ new album, Romance, is one of the big surprises of the year; the Dublin-based rockers have largely abandoned their punk sound in favor of a more ambitious array of influences that have them dancing around the edges of pop-rock without fully giving in to the sound. You can hear the punk roots in the background of songs like this one, but they’re in their post-punk/new wave phase now, and it’s fascinating. I still think “Favourite” is my … uh, favorite track on the record, but this and “Starburster” are also highlights.

Goat – Ouroboros. These Swedish psychedelic/fusion rockers return with their third album in three years, titled Goat, on October 11^th; this is the radio edit of the album’s lengthy closing track, with a guitar riff that Nile Rodgers would approve.

King Gizzard & the Lizard Wizard – Hog Calling Contest. The Aussie band’s 26^th (!) album, Flight b741, came out in August, with an unusually long gap of ten months between records, and it’s more in the vein of their bluesy jam-band stuff than some of their heavier (and, to my ears, better) works.

Nice Biscuit – Fade Away. Not quite as good as “The Rain,” but we still get another strong guitar riff from this Australian indie-rock band, which marries some psychedelia with the pulsing beats of post-punk. Their new album SOS comes out on October 4^th.

The Killers – Bright Lights. This one-off (for now) single dropped just a few weeks before the Killers started their residency in Vegas to celebrate the 20^th anniversary of Hot Fuss, with all four original members playing the entire album start to finish as part of the shows. The track bridges the gap between their earliest synth-pop leanings and the more country-tinged sound of 2021’s Pressure Machine.

Chime School – The End. The Boy Who Ran the Paisley Hotel, the second album from Andy Pastalaniec (also of Seablite), continues with the project’s 1980s jangle-pop sound, which in itself derives from 1960s pop bands like the Byrds.

Sunflower Bean – Teach Me to Be Bad. Another heavier song from Sunflower Bean, and I’m into it. “Moment in the Sun” was a huge hit, and deservedly so, but the last thing I wanted from the band was an album full of attempts to re-create it.

X – Ruby Church. X announced that Smoke & Fiction will be their farewell album, accompanied by a final tour, four years after their comeback LP Alphabetland marked their return from 27 years away from the studio. I’ve never been a huge fan of X’s music, and am certainly not a fan of Exene Cervenka’s conspiracy theory-mongering, but I acknowledge the band’s huge influence on American music from the 1980s and 1990s.

Manic Street Preachers – Decline & Fall. The Welsh trio has said this track was inspired by several artists, including the War on Drugs, and that couldn’t be any clearer. I’m also stunned that James Dean Bradfield still sounds this good at age 55. The BBC has a story on some recently unearthed photographs of the band taken shortly before lyricist/guitarist Richey Edwards disappeared.

Hayden Thorpe – They. The former lead singer of Wild Beasts will drop his third solo album, Ness, on September 27^th; it’s just a different sound than that of his former band, and I’m still kind of getting used to his individual style, which has some of the art rock leanings of Wild Beasts but in a quieter mode. He released two singles in August, this one and “He.”

Katie Gavin – Casual Drug Use. The second single from the MUNA singer’s upcoming debut solo album, What a Relief, due out on October 25^th, is another smooth indie-pop track that borrows as much from alternative country singers like Kacey Musgraves and Brandi Carlile as it does from MUNA’s college-rock influences.

Bananagun – Free Energy. I dug this Australian experimental psych-rock band’s 2020 debut album The True Story of Bananagun – seriously, why is Oz so rife with psychedelic rock music? – but we haven’t had a peep out of the band since. They’re back with this frenetic track, which feels like it’s almost all drum-and-bass with a little vocals sprinkled on top, ahead of their sophomore album, Why is the Colour of the Sky?, due out November 8^th.

Spirit of the Beehive – I’ve Been Evil. I hear a lot of Pinback and even Polvo in this track from Spirit’s newest album, You’ll Have to Lose Something, which, like most of their albums, is interesting but all over the place.

Jamie xx feat. The Avalanches – All You Children. Jamie xx’s second solo album, In Waves, finally comes out on September 20^th, nine years after his debut In Colour, which had two of my favorite tracks of the decade in “See Saw” and “Loud Places.” I haven’t heard anything quite to that level from the five singles already released from the new album, with this one perhaps the best for its more accessible EDM sound.

Tangent feat. Rakim – Get Right, Keep Tight. Rakim put out a short comeback album in July that didn’t feature anywhere enough of him; his verse here as a guest on an otherwise unremarkable track from Tangent might be the best thing Rakim has done this year.

Maxïmo Park – Quiz Show Clue. There are too many bands, part 837: I’d never heard of Maxïmo Park before this spring, only to discover they’ve been around for 20 years and are about to release their eighth album, Stream of Life, on September 27^th. They’re a post-punk revival band often lumped into the “landfill indie” pile, which, to be entirely honest, kind of fits; I actually first heard of them when I went down that rabbit hole (after the Libertines’ new album came out) and found VICE’s list of the 50 greatest landfill indie songs of all time, which has two Maxïmo Park tracks on it.

Ten Fé – Space Invader. I’m thrilled that Ten Fé is back, as they hadn’t released any music since 2019’s Future Perfect, Present Tense, although this song reminds me a little too much of Keane and doesn’t quite have the hook of some of Ten Fé’s best singles to date.

Sports Team – I’m in Love (Subaru). I loved Sports Team’s 2022 album Gulp!, so I’m not sure how I feel about them suddenly deciding they’re going to channel the band ABC.

Geordie Greep – Holy, Holy. So this is a rare case where I’m including a song I don’t particularly like. Greep was the lead singer/guitarist for black midi, which announced its breakup in August (or maybe an indefinite hiatus), with Greep then releasing this single a few days later. It’s kind of a mess, although I wouldn’t expect anything other than that from a black midi member, but the problem here is more in the lyrics, which might have worked for an older singer but just come off as snotty and ridiculous here. His solo album A New Sound comes out on October 4^th.

Satan – Turn the Tide. I can’t believe these guys are still together, with both founding guitarists (Steve Ramsey and Russ Tippins) still in the band 45 years on, along with Blitzkrieg vocalist Brian Ross, who sang on their first full-length LP, 1983’s Court in the Act, before leaving the band until their 2011 re-formation.

Zeal & Ardor – Kilònova. Zeal & Ardor, a Swiss/American band that fuses black metal with African-American spiritual music, just released their fourth LP, Greif, in August; from the three singles I’ve heard, they seem to be drifting more towards a mainstream metal sound, with fewer of the more ridiculous trappings of extreme metal like death growls (there’s a little on “Clawing Out”) or blast beats.

Devin Townsend – Power Nerd. Townsend is a virtuoso metal guitarist whose first band, Strapping Young Lad, earned him a following but was way too harsh for my tastes. His post-SYL output, which has basically all been solo material but sometimes under monikers like the Devin Townsend Project, is a mixed bag, but this speed-metal track has a fantastic hook in the chorus.

Opeth – §1. Opeth hasn’t used death growls on any album since 2008’s Watershed, but they did on this track, the opener of their album The Last Will and Testament, a concept album due out on October 11^th.

Tribulation – Tainted Skies. Tribulation’s music wouldn’t be out of place on a mid-80s episode of Headbanger’s Ball, but they mix in some death growls and wear silly corpse paint. The music is almost comically melodic for the genre – this is metal, but it ain’t heavy other than the vocals, and it hits an almost nostalgic note for me because I listened to so much (admittedly mediocre) metal in the 1980s.

Filed Under: Uncategorized Tagged With: 2024 in music, alternative, indie, melodic death metal, metal, Music, punk, rap

→ August 2, 2024
→ By keith

Music update, July 2024.

July finished with a bit of a bang, from a music perspective, at least, as this playlist doubled in size over the final week of the month. It also had two of my favorite new albums of the year so far, from Griff and Childish Gambino, as well as new singles from three contemporary artists I really like – from three entirely different genres, too. As always, if you can’t see the playlist below, you can access it here.

Griff – Tears For Fun. Griff’s full-length debut, Vertigo, came out this month and was a huge success in her native UK, coming in at #3 on their album charts in its first week. It’s an incredible record of lush pop tracks, replete with sophisticated melodies, the sort of record that should appeal to fans of Taylor Swift, Olivia Rodrigo, etc. if American fans even hear any of her music.

Lotte Gallagher – This Room. I assume I won’t be the last person to wonder if she’s related to the Oasis boys, but she’s not; she’s a singer/songwriter from Melbourne, Australia, which seems to be producing as much great indie pop/rock music per capita as any country in the world right now. I wish I’d come up with the comparison to Sam Fender, but I saw it in a fluffy profile of Ms. Gallagher and I can’t find a better one.

Michael Kiwanuka – Floating Parade. The first new track from the 2020 Mercury Prize winner since the 2021 single “Beautiful Life” is a gorgeous, bass-forward track with meditative lyrics about the struggles of daily life and how we seek out ways to escape it.

Sampha & Little Simz – Satellite Business 2.0. Theoriginal “Satellite Business”was an 84-second filler track with no percussion on Sampha’s 2023 album “Lahai,” but this version is blown out to 4:53 with a drum machine and a bangin’ guest verse from Little Simz. It completely reimagines the track with a big, frenetic energy that makes it one of Sampha’s best songs to date.

Jorja Smith – High. Smith appeared on Bando Stone and now returns with her first new solo track of 2024, not counting the ‘reimagined’ version of falling or flying she released in May. “High” really showcases her voice over a smooth house beat, with production that puts her vocals front and center, where they belong.

Childish Gambino feat. Foushée – Running Around. If Bando Stone & the New World is indeed the last Childish Gambino album, it’s a real tour de force and a hell of a swan song. Donald Glover bounces across all manner of genres, even going full emo on this track, in a broad, unpredictable, ambitious record by a mad musical genius. I also recommend “Lithonia,” a ballad with a great twist at the chorus; and the instrumental “Happy Survival,” featuring Khruangbin.

Crows – Bored. Crows’ third album, Reason Enough, comes out on September 27^th; this lead single seems to lean harder into their punk roots, which I suppose isn’t that surprising for a band on IDLES’s record label.

Japandroids – Chicago. Japandroids released this new single off their upcoming album Fate & Alcohol with anote that this record will be their last. It’s their first new music since 2017’s Near to the Wild Heart of Life.

Pastel – Deeper than Holy. Pastel’s handful of singles so far have shown a deep reverence for the heyday of Britpop, often bridging the gap between that era’s biggest rivals, Blur and Oasis.

Primal Scream – Love Insurrection. Primal Scream’s first new music since 2016 sounds like they paired up with Khruangbin to reimagine late-1970s funk/disco. Their twelfth album, Come Ahead, comes out in November.

Los Bitchos – Kiki, You Complete Me. Los Bitchos play cumbia-influenced rock, mostly instrumental, with this particular song recalling 1960s surf rock and spy-movie soundtracks.

O. – Sugarfish. That’s about as SEO-unfriendly a band name as you can conceive. O. is a duo from London that works with saxophone and drums, but they run the sax through all kinds of effects pedals to make it sound like other instruments, including a distorted guitar. Their debut album, the appropriately titled WeirdOs, dropped in June.

Sunflower Bean – Shake. This title track of an upcoming EP from the Brooklyn trio is probably the heaviest thing they’ve ever done, driven by a single guitar riff, with Julia Cumming ceding most of the lead vocal work to Nick Kivlen.

Hinds – Superstar. This is the fourth single from the duo’s upcoming album, Viva Hinds, which drops in September, and continues a trend of cleaner production and tighter songwriting that preserves the chaotic nature of their overlapping vocals.

Katie Gavin – Aftertaste. Gavin is the lead vocalist for MUNA and will release her first solo album, What a Relief, on October 25^th on Phoebe Bridgers’ label. This is unabashed folk-pop and utterly infectious.

GIFT – Light Runner. The fourth single from GIFT’s second album, Illuminator, which is due out August 23^rd, is my least favorite so far but does continue in a similar vein of shimmering, layered psychedelic rock, just without as strong of a hook as “Wish Me Away” or “Going in Circles” offered.

Blossoms – Perfect Me. Blossoms’ latest album, Gary, comes out in September, and they’ve released two singles so far, with this upbeat indie-pop number miles ahead of the drab, pretentious title track.

The Beaches – Takes One to Know One. The Beaches had a minor hit last year with their album Blame My Ex and the track “Blame Brett” – I mean, with that big brain on him, who else would you blame? – and now they’re back with what appears to be a one-off single that has a similar sound to the last record, with a sunny pop-rock vibe belied by the cynical lyrics.

Alison Goldfrapp – I Wanna Be Loved (Just a Little Better). I can’t believe Goldfrapp is 58, but, then again, I can’t believe I’m 51. This is her first single on her own record label, coming on the heels of her first solo album, last year’s The Love Invention. The backing music, a new wave/disco blend, sounds like it could have been an outtake from a Yaz record, although the vocal style is obviously quite different from the other Alison’s.

Envy – Beyond the Raindrops. I was completely unfamiliar with Envy before I heard this track, even though they’ve been recording since 1998. They’re a Japanese post-hardcore/post-rock band who started out in the ridiculously-named “screamo” scene, a term that seems to mean nothing at all at this point other than that I generally don’t dig bands lumped under that umbrella. This track, from Envy’s upcoming album Eunoia, is somewhere between post-hardcore and shoegaze, with a darkly atmospheric vibe and spare vocals.

Glass Animals – A Tear in Space (Airlock). Glass Animals’ latest album, I Love You So Fucking Much, is their first since the global success of “Heat Waves,” which now holds the records for the longest stay on the Billboard Hot 100 and the longest time on the chart before hitting #1. There’s nothing on this album to rival that track or “Life Itself;” it’s consistently good, without any huge standouts. If you like Glass Animals in general, you’ll like the album.

Flotsam & Jetsam – Burning My Bridges. The second track from their fifteenth album, I Am the Weapon, due out on September 13^th, finds these 1980s thrash icons just a little bit mellowed, but still thrashing away, with just two members remaining from their debut album. I prefer the previous single, “Primal,” but this is still a solid throwback to the Bay Area thrash sound that marked their first couple of LPs.

Filed Under: Uncategorized Tagged With: 2024 in music, alternative, indie, Music, thrash

→ July 3, 2024
→ By keith

Music update, June 2024.

June brought three of the best albums of the year so far and a slew of comeback singles from bands I thought weren’t recording any more, so I’d call it a good month even beyond the part where it included my birthday and my daughter graduating from high school. Anyway, if you can’t see the playlist below, you can access it here.

Rakim feat. Kurupt and Masta Killa – Be Ill. The world has been waiting for new music from Rakim for 15 years, and for good new music from him for at least 25 years. We’re getting a new album, modestly titled G.O.D.s NETWORK: REB7RTH, on July 26^th, and this song has Rakim sounding as good as he has since the 1990s.

GIFT – Later. More shoegazey than straight shoegaze, with a heavier dose of ‘80s synths, cleaner guitars, and way more prominent vocals. GIFT’s second album, Illuminator, their first as a full band (rather than a solo project for vocalist/guitarist TJ Freda), comes out on August 23^rd, but the three singles they’ve released so far are all bangers – this one, “Going in Circles,” and my favorite, “Wish Me Away.” There’s definitely some Slowdive/Ride influence here, but Freda is doing more than just mimicking his idols, especially when it comes to building towards a big chorus or other hook.

Hundred Waters – Towers. I had long given up on hearing more music from Hundred Waters, whose sophomore album The Moon Rang Like a Bell was also one of my top albums of the 2010s, but whose last release was 2017’s Communicating. The trio, led by singer Nicole Miglis, released a four-song EP called Towers on June 14^th, and Miglis still sounds incredible, while the band continues to experiment with the electronic sounds that back her up. I’m hoping there’s a full album to come but I’ll take what I can get.

The Mysterines – Hawkmoon. The Mysterines’ sophomore album Afraid of Tomorrows came out on June 21^st, the same day as Pond’s and Alcest’s newest albums, and it’s a huge step forward from Lia Metcalfe’s quartet across the board, but especially in the quality of its hooks. My friends at Paste interviewed Metcalfe and drummer Paul Crilly about the new record.

Pond – So Lo. Stung!, the latest album from these Australian experimental psych-rockers, is all over the place, for better and a bit worse, but I take that as the price of admission given their willingness to jump between genres. This has strong mid-80s Prince vibes, as well as the 1970s funk songs that inspired his Revolution era sound.

The Howl & the Hum – Same Mistake Twice. Imagine a mashup of gang of youths and the Front Bottoms and you get this song from the Yorkshire quartet whose name unfortunately sounds like a discount version of The Head & the Heart.

Sløtface – Ladies of the Fight. This is what I want from Sløtface’s Haley Shea, who is now the only official member, and has a knack for punk-pop hooks and witty, sardonic lyrics. This track is full of movie references, including Fight Club and A League of Their Own, fitting since the upcoming album is titled Film Buff (September 27^th).

Color Green – God in a $. This is just good old-fashioned blues-based rock and roll, maybe with a dash of jam-band sensibility thrown in. I’d love to see them live, although their summer tour doesn’t go anywhere west of Boise.

Good Looks – Broken Body. This Austin jangle-pop band released their second album, Lived Here for a While, in June, featuring this track and the lead single “If It’s Gone,” which showcase their sense of melody and wistful lyrics.

Chime School – Give Your Heart Away. More sunny jangle-pop goodness from San Francisco Giants fan and Seablite drummer Andy Pastalaniec, whose second album, The Boy Who Ran The Paisley Hotel, drops on August 23^rd.

Los Campesinos! – Feast of Tongues. We do love Welsh bands around here, but I have to admit that Los Campesinos! have often missed the mark for me – they’ve often struck me as trying too hard to be snarky or different, or just generally too cool for school. This track, from their upcoming album All Hell (out July 19^th), is something I at least haven’t heard from them before, reminiscent lyrically of Okkervil River and musically of Mercury Rev.

Mercury Rev – Patterns. Oh hey, what a coincidence. I thought Mercury Rev had hung it up after 2015’s The Light in You (which I barely remember), and I can’t say I’ve been into anything they’ve done since 2001’s epic All Is Dream. This song feels like a throwback to that record, with spoken, philosophical (or just) lyrics over a psychedelic space-pop backdrop. Their new album Born Horses drops on September 6^th.

The Jesus Lizard – Hide & Seek. These 1990s noise-rock icons haven’t released an album in 26 years, but Rack drops on September 13^th. They’ve promised a departure from their old sound; this track sounds more like the clean punk sound of the Descendents than Goat or Liar.

Amyl and the Sniffers – Facts. Seth Meyers’ favorite band put out two singles at the end of May, this one and “U Should Not Be Doing That,” and they haven’t changed their fast-driving throwback punk sound a bit.

Fontaines D.C. – Favourite. Fontaines D.C. go Britpop on the closing track from their forthcoming album Romance, due out in August. I saw this Irish post-punk band open for Arctic Monkeys last September and they were unbelievable live, so much so that I would have said I wasn’t a fan before seeing them but definitely became one after.

Hayden Thorpe – They. Thorpe was the lead singer of Wild Beasts, whose final album Boy King ranked 5^th on my list of the best albums of the 2010s, but his solo output since their breakup has lacked some of the urgency and verve of Wild Beasts’ best material. I’m cautiously optimistic about his next album, Ness, out September 27^th, given the more ambitious music on this track.

One True Pairing – Mid-Life Crisis. So Hayden Thorpe’s return sent me down a Wild Beasts rabbit hole that led me to One True Pairing, the nom de chanson of their bassist Tom Fleming, who put out a self-titled album under that moniker in 2019 and has put out three singles in the last eight months. He also doesn’t sound quite like Wild Beasts did, but there’s a sweeping, lush texture to this song that kept me coming back to listen to it again. (It’s not a cover of the Faith No More track. Sorry.)

Griff – Anything. Griff’s full-length debut Vertigo comes out on July 12^th and includes a bunch of the singles she’s already released, including this banger, the title track, “Astronaut,” and “Pillow in My Arms.” She’s playing Philly in September … on a Monday when I’ll be in Chicago for Stadium.

Soccer Mommy – Lost. A lovely acoustic ballad from Sophia Allison, her second single (along with last year’s “Lose You,” with Bully) since her 2022 album Sometimes, Forever.

Hinds – En Forma. Hinds began as a duo, became a quartet, went dark after a one-off single in 2021, lost two members, and now are about to release their first album with their original lineup of Carlotta Cosials and Ana García Perrote, Viva Hinds, on September 6^th. They’ve released three singles so far, and it sounds like they’ve cleaned up their sound and production enough that they no longer sound like they recorded the record in a subway bathroom or are just learning to play their instruments.

METTE – MUSCLE. I had no idea who METTE was when I heard this song, and while I don’t generally go for this kind of commercially-oriented electro-pop, this damn thing would not let go of my ears for days. Then I found out METTE is actress Mette Towley, who was in Hustlers and The Old Guard and briefly in Barbie, and she’s opening some of Taylor Swift’s shows in the UK, so, uh, good job me finding out about the famous person.

Nubya Garcia – The Seer. Garcia is an English jazz saxophonist who released albums in 2017 and 2020 but nothing since; this track, which caught my ear for the obvious John Coltrane influence on her playing, is her first in four years and the lead single from her forthcoming album Odyssey, due out September 20^th.

NIJI – A13 Fuji. Nigerian-British jazz pianist Niji Adeleye released his first proper LP Somewhere in the Middle in January and is already back with another track that blends western jazz styles with Afrobeat sounds. The main horn riff here is quite an earworm.

Ezra Collective feat. Yazmin Lacey. Ezra Collective won last year’s Mercury Prize for their 2022 album Where I’m Meant to Be, and have now released a pair of singles from their follow-up record Dance, No One’s Watching, due out September 27^th. I think they’ve embraced a more pop-oriented sound, going more for strong melodies in either their music or in the guest vocals. I didn’t quite get the acclaim for the last record, at least compared to other candidates for the Mercury Prize, but I’ve liked both this and “Ajala” quite a bit more.

Jamie xx – Treat Each Other Right. Jamie xx put out two singles in June, this and “Life” featuring Robyn, leading up to the release of his second solo album In Waves on September 20^th. So far, I haven’t heard anything as strong as “Loud Places” or “SeeSaw,” both featuring his bandmate Romy from the xx; it’s been more tracks like this, big house beats but without the same hooks or cross-genre experimentation.

Alcest – Komorebi. Alcest’s new album Les Chants de l’Aurore is the best metal album of the year so far by a mile, and one of the best albums of the year, period. It’s at least the best thing they’ve done since 2016’s Kodama, and I think represents the perfect balance of progressive metal, shoegaze, and extreme/death metal, three genres with which guitarist/singer Neige has experimented for his entire career, varying his use of all three. This album is a journey and I have already taken it many times.

Crypt Sermon – Thunder (Perfect Mind). Crypt Sermon does a souped-up take on doom metal, with a little more groove to it than typical adherents of that genre, with a very polished but still heavy, crunchy take on the style on their new album The Stygian Rose, which came out in June.

Flotsam & Jetsam – Primal. Props to Flotsam & Jetsam, who just keep churning out thrash tracks like it’s 1986. I’ll always be a sucker for this style of metal even though its moment was short and it’s hopelessly outdated now.

Dark Tranquility – Not Nothing. Dark Tranquility are one of the leaders of the Gothenburg style of metal, often called melodic death metal, here mixing clean and growled vocals with a heavy, proggy guitar riff through the chorus.

Tribulation – Saturn Coming Down. Tribulation gets labelled as “black metal” or “death metal” because their vocals are growled and they wear silly corpse paint, but their music isn’t actually that extreme – it’s straight metal and often wouldn’t be out of place on a compilation of ‘80s metal. On this new track they switch to clean vocals with a very goth sound in the chorus and it really elevates the whole endeavor; I know the death growls are part of their schtick but they’re leaving money on the table because the music is way more accessible than the labels indicate.

Filed Under: Uncategorized Tagged With: 2024 in music, alternative, doom metal, hip hop, indie, jazz, melodic death metal, metal, Music, rap, thrash

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