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→ November 1, 2024
→ By keith
→ 1 Comment

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

→ June 4, 2024
→ By keith

Music update, May 2024.

This list was pretty thin until the last eight days of May, when I think it doubled in length, with a bunch of new/surprise releases, including a couple of tracks from bands that were popular when I was still in grade school. May also included what is probably my #1 album of 2024 so far, two tracks from a band whose next album might be their big breakthrough, a posthumous release from Steve Albini, a fantastic cover I didn’t expect, some great new metal tracks, and more. You can access the playlist here if you can’t see the widget below.

Mdou Moctar – Oh France. Moctar’s latest album, Funeral for Justice, is one of the best albums of the year, fighting for my top spot so far with the Libertines’ latest. His guitar work is so strong that even without the typical aural anchor of the lyrics I still find his tracks running through my head, including this one, the title track, and “Imouhar.”

milk. – Don’t Miss It. I’m probably better at predicting success (or failure) for baseball prospects than I am for bands, but this Irish quartet with the SEO-unfriendly name would be a top ten prospect for me right now. Maybe I should do some sort of rankings like that for fun. Anyway, they’ve got a great knack for indie-pop melodies, and this is their best single yet.

Charly Bliss – Nineteen. One of two great singles from Charly Bliss to come out in May in advance of their new album Forever, due out on August 16^th. This is a powerhouse ballad with clever lyrics and a great vocal turn by Eva Hendricks, while the second single, “Calling You Out,” is more in their typical indie-pop vein. I’ve loved all three tracks from the record so far although I was disappointed to hear their single from last year, “You Don’t Even Know Me Anymore,” isn’t on it.r

Blushing – Silver Teeth. Straight-up American shoegaze, from Texas but descended directly from the original shoegaze sound – you could definitely drop this on a mix from 1992 and no one would blink.

Nice Biscuit – Rain. Psychedelic rock from Brisbane, here with a big crunchy guitar riff right from the outset before the dreamy vocals come in.

Miles Kane – Fingerless Gloves. The other half of the Last Shadow Puppets and the lead singer/guitarist of the so-called “landfill indie” band the Rascals (who put out one album in 2008 and disbanded when Kane left) has just dropped a new instrumental five-song EP, featuring this banger that doesn’t need any vocals at all.

Color Green – Four Leaf Clover. Spacey, psychedelic guitar rock that 100% could be the opening band at a Phish show, if Phish weren’t also their own opening act. Color Green put out a full-length album in 2022, but this was the first track I’d heard by them.

DEADLETTER – Mere Mortal. Post-punk with horns, like Madness but definitely edgier and angrier. I’m not surprised to read they’re fans of Yard Act – you can hear some shared DNA between the two.

Bad Omens feat. Bob Vylan – Terms and Conditions. I sent this to a friend who shares my fandom of old-school hip hop, and not only did he love it, he said it’d be a great walkup song because it’s fast and loud and no one else would have it. Also, how many rappers can drop a coltan reference in their rhymes?

GIFT – Going in Circles. More psychedelia, from the band whose 2022 track “Gumball Garden” made my top 100 from that year, with their second album Illuminator due out on August 23^rd.

Marble feat. Foxing – the monster. Marble is a six-piece band from the Pacific Northwest, calling their music “shoegaze/dreamo,” although this track, with Conor Murphy of Foxing taking the second verse, is neither – it’s bigger, clearer, more majestic, growing to a huge crescendo before a downshift in tempo at the finish.

STONE – Save Me. This hard rock/punk quartet from Liverpool announced their first full-length LP, Fear Life for a Lifetime, will be out on July 12^th.

The Lemon Twigs – Rock On (Over and Over). The Lemon Twigs can get overly twee and their whole affect seems … well, affected, but when they lean hard into that 1960s pop sound, they produce Barrels. This seems like the kind of song Susanna Hoffs would cover.

The The – Cognitive Dissident. Yep, that’s the great 1980s alternative band, whose original lineup included Keith Laws, now a neuropsych professor University of Hertfordshire. Matt Johnson is the only original member left, but it’s his voice that defines so much of their sound – and he sounds great.

The Chameleons – Where Are You? The Chameleons were also part of the original post-punk movement but had very little success in the U.S., breaking up in the late 1980s after three albums, reuniting for one LP in 2001, and then breaking up again. Their first album since then, Arctic Moon, will be out later this year, with two of the four original members on board, including vocalist/bassist Mark Burgess. I didn’t end up including it on the list, but another band who were big in the 1980s, Redd Kross, put out a new track, “Born Innocent,” which was the name of their debut LP from 1982.

Ducks Ltd. – When You’re Outside. This is a bonus track from the Harm’s Way sessions that didn’t make the cut, but I might like it more than anything on the record. Their jangle-pop sound is pretty much in my wheelhouse.

Hinds feat. Beck – Boom Boom Back. I thought Hinds were done, with nothing since their 2020 album The Prettiest Curse, but they’re back, back down to their original two members, with a new LP coming in September. This track has the same sort of chaotic feel as just about all of their previous work, but the production level is higher, and the music is tighter, without that sense that the members are all playing to slightly different times.

Idaho – On Fire. I know Idaho’s stuff from their 1990s heyday as leaders of the ‘slowcore’ movement, but totally lost track of them after either Three Sheets to the Wind or Alas, and had no idea they’d 1) kept going until 2013 or 2) reunited this year for their first new album, Lapse, in eleven years. I don’t know if I could sit through a whole album of this lugubrious sound, but the main guitar riff here is hypnotic.

Strand of Oaks – Future Temple. A spacier, synth-laden single from Timothy Showalter, his first new music since 2021’s In Heaven.

RM feat. Little Simz – Domodachi. RM’s second solo album, Right Place, Wrong Person, came out to rave reviews on May 24^th, and since I’m not exactly a BTS stan, you can imagine I found this track because the great Little Simz is on it.

Mach-Hommy feat. Black Thought – COPY COLD. Mach-Hommy is a Haitian-American rapper who hides his real identity and has been absurdly prolific, with Wikipedia listing 27 albums, all but two in the last ten years. I’m here for Black Thought’s verse, of course.

Slash feat. Chris Stapleton – Oh Well. A faithful, rollicking cover of one of the earliest Fleetwood Mac hits, written and sung by Peter Green. Stapleton’s vocals are desultory but I’m here for Slash’s soloing anyway.

Head Automatica – Bear the Cross. Head Automatica is a side project for Glassjaw lead singer Daryl Palumbo, but they’d been idle since 2012 and hadn’t released any new music since 2006 before this new single. There’s a mid-period Depeche Mode vibe to it, with that vaguely industrial sound from the Some Great Reward era.

Shellac – WSOD. Shellac’s final album came out just ten days after the death of guitarist/vocalist Steve Albini, which, from the reviews I’ve seen, has meant some less-than-objective commentary on the music itself, but I think this track is pretty great from the opening riff to Albini’s Mike Doughty-esque lyrics.

Cemetery Skyline – In Darkness. Cemetery Skyline is a supergroup of musicians from Nordic metal, including members from two major melodic death metal bands in Dark Tranquility and Omnium Gatherum, but this track is almost an anachronism – the vocals are clean, the tempo is moderate, and the whole thing has a NWOBHM/Sabbath-y vibe. It’s interesting to me to hear guys who lean too heavily on gimmicks like death growls and blast beats show they like and can play more accessible stuff.

Wheel – Submission. A sprawling ten-minute progfest from one of the best prog-metal bands on the planet right now, from their latest album Charismatic Leaders.

Pallbearer – Mind Burns Alive. The title track from the American doom masters’ latest album, which dropped on May 17^th and features six tracks, none shorter than six and a half minutes.

Filed Under: Uncategorized Tagged With: alternative, doom metal, hip hop, indie, Music, progressive metal

→ April 4, 2024
→ By keith

Music update, March 2024.

March had a slew of big album releases, even just limiting them to artists whose work I’ve liked at some point in the past: Ride, Everything Everything, Liam Gallagher/John Squire, Waxahatchee, Elbow, Kacey Musgraves, Judas Priest, Sheer Mag, Yard Act, and more. There are a few I liked, but several were just okay – not bad, but nothing that special. There were a lot of songs from upcoming albums that I’m excited for, and this playlist has tracks from four different albums due out on May 3^rd, so I guess that’ll be a busy listening weekend for me. As always, you can access the playlist here if you can’t see the Spotify widget below.

Mdou Moctar – Funeral for Justice. Moctar became a global phenomenon with 2021’s Afrique Victime, bringing his blend of Touareg music and Western guitar to a much broader audience as the English-language music press began to sing his praises. (It was #5 on my top albums of 2021.) This is the title track from his follow-up album, due out May 3^rd, and it’s very heavy on Moctar’s mesmerizing guitar work.

Elbow – Good Blood Mexico City. This banger from Elbow’s latest album, AUDIO VERTIGO, feels like the best song Doves never recorded. It’s fast and loud and intense, with a great hook at its heart. The album is solid and I think it’s the best new album from last month, at least of the ones I’ve listened to all the way through.

The Libertines – Oh Shit. The lads’ fourth album, All Quiet on the Eastern Esplanade, is due out on Friday, a week later than originally scheduled, and the singles so far have still been rough-and-ready but definitely show a mellower side of Barât and Doherty.

Kaiser Chiefs – Reasons to Stay Alive.The Kaisers may be approaching 30 years together as a band, and their most popular record, Employment, may turn 20 next year, but their new album has two absolute bangers in this and “Beautiful Girl.” I doubt it’ll get much play outside of the U.K., given the way we dispose of bands in the U.S. music scene, but they’ve had more than a few winners even post-“Ruby.”

Kid Kapichi – Can EU Hear Me? Angry Kid Kapichi is the best Kid Kapichi, and I wish the whole album – There Goes the Neighborhood – maintained this level of righteous rage throughout. This is obviously an anti-Brexit track (“I don’t wanna live alone on this island/But they put it to a vote, and they just kept lyin’”) but like all of the best Kapichi tracks it has some incredible hooks and the indignation shows up in the furious rhythm guitar.

Liam Gallagher/John Squire – You’re Not the Only One. Yeah, well, the anticipation was fun, but the album is kind of a snoozer. I think everyone – myself included – was so excited at the potential for some real John Squire material on par with his Stone Roses output that perhaps we ignored two key facts: Squire is a terrible lyricist, and Liam hasn’t seemed engaged with any music he’s put out since Oasis’s 2005 album Don’t Believe the Truth. One track on the album is called “I’m So Bored,” and when Liam sings it, I believe him.

Mourn – Endless Looping. I thought Mourn had disbanded after 2021’s Self Worth, as they seemed to vanish from the internet, but they returned in March with The Avoider, which feels oddly muted for a trio whose songs usually burst with energy that helped power them through even when songs weren’t polished or their vocals were (deliberately) a little off key. This opening track is the best on the record, although “Could Be Friends” is solid too.

White Reaper – I Can’t Escape Myself. White Reaper released this one-off single, a cover of the opening track from UK post-punk icons The Sound’s debut album Jeopardy!, to tide fans over until there’s a new Reaper album on the way. It’s a faithful cover translated through the White Reaper sound, with more polished production than the original but still the same haunting quality.

Yard Act – A Vineyard for the North. Where’s My Utopia?, the second album from these UK post-punks, didn’t quite hit as hard as their debut album did, although I applaud the band for experimenting further with their sound rather than just resting on the plaudits from the first record. This is maybe the fifth-best song on the record, but I’ve already included “We Make Hits,” “Dream Job,” “Petroleum,” and “When the Laughter Stops” on previous playlists.

Sheer Mag – Golden Hour. Sheer Mag were lo-fi critical darlings in their early EP stages, when they were harder-edged and leaned more into garage rock and punk, even flirting with metal at times, but their new album Playing Favorites – which started out as a disco EP during the pandemic that grew into a full-length album seems to dispense with punk influences entirely. There’s a lot of 12-bar blues here and some rockabilly sounds (“Golden Hour”), with some great melodies (“Moonstruck”) but not a ton of experimentation – except on this track, which features a killer guitar solo from none other than Mdou Moctar.

Lauren Mayberry – Change Shapes. I’ve been surprised by Mayberry’s solo output so far, including this sugar-sweet pop track about how to survive in a relationship with a manipulative partner; if the lyrics didn’t have a dark edge I’d call it twee and leave it off the playlist entirely.

Richard Hawley – Two For His Heels. Hawley, formerly of the shortlived Britpop band Longpigs and then briefly of Pulp, hasn’t released anything since his 2019 album Further, but he’s back with this single (taking its title from a cribbage rule, so, hey, boardgames!) ahead of the May release of his latest album In This City They Call You Love. This track is very noirish, suiting its lyrics about a deal gone wrong.

La Luz – Strange World. Speaking of noir, La Luz doesn’t do anything other than that, and that’s fine with me. The quartet has changed by 50% since their last album in 2021, but leader Shana Cleveland is still on board. They’ll release News of the Universe on May 24^th, featuring this track and the lugubrious “Poppies.”

Khruangbin – Pon Pón. A LA SALA, their first album of new material since 2020’s Mordechai, arrives this Friday; I loved Mordechai but it didn’t land with critics the way their earlier work had. This and “A Love International” are both standouts already, ahead of the slower (and non-instrumental) “May Ninth” of the three singles they’ve released from the album.

Kamasi Washington – Prologue. The acclaimed jazz saxophonist will release his latest album, Fearless Movement, on May 3^rd, and this track is actually the last one on the record, despite the title. Nobody is the new John Coltrane, but Washington’s work does remind me a bit of the GOAT.

Kacey Musgraves – Cardinal. I guess I’m a Kacey Musgraves fan now.

Waxahatchee – 3 Sisters. I still haven’t listened all the way through Tigers Blood, and I think part of it is that I thought Saint Cloud (her last album, released almost exactly four years before this one) was so good that I can’t imagine this will live up to it. I don’t think there’s a “Lilacs” or an “Under the Rock” here, at least not yet, but this song is quite lovely, especially the harmonies in the chorus.

Parsnip – Turn to Love. I wouldn’t rate this above the Aussie’ quartet’s previous single, the incredible power-pop gem “The Light,” but if you hang on here until the chorus you’ll hear what they’re capable of. Their sophomore album Behold drops on April 26^th.

Love Fame Tragedy – My Head’s in a Hurricane. LFT is Matthew Murphy, lead singer-songwriter for the Wombats, and his second solo album under that moniker, Life is a Killer, actually feels like a really good Wombats album – more than his solo debut did, certainly.

Courting – Battle. Courting’s New Last Name might be my top album of 2024 so far, and this extra track from those recording sessions has the same jangly, alt-poppy vibe as much of the LP did.

Blushing – Tamagotchi. The second song with this title to appear on one of my playlists this year, oddly enough, this “Tamagotchi” comes from a shoegaze band from Austin who’ve released two albums already, one co-produced by Mark Gardener of Ride. Their sound is very similar to early Lush, and indeed they covered “Out of Control” on an early release. Blushing’s third full-length album Sugarcoat comes out May 3^rd.

Ride – Portland Rocks. Speaking of Ride, their latest album Interplay came out last month, and it’s a solid grade-B record: exactly what you would want and expect from Ride, nothing more, nothing too novel, but nothing amiss, either. They came back from hiatus at the same time as slowdive, so the comparisons are a little too easy, but where slowdive has leaned more into their shoegaze roots and are riding the wave of the genre’s revival, Ride have reemerged in a softer form, closer to dream-pop than shoegaze, with Interplay harkening back more to British new wave than the original shoegaze movement that Ride helped pioneer.

The Jesus and Mary Chain – Venal Eyes. The Guardian called the Reid brothers’ second comeback album “three-quarters of a good record” by way of praise; I might put the ratio closer to half. (Their real comeback album was 2017’s Damage and Joy, coming after a 19-year layoff; the wait this time was just seven years.) TJ&MC were always more shoegaze-adjacent to me, with more noise-rock elements and I think a pretty clear intent to create some chaos on record. This song does all of that, and does it well.

Drop Nineteens – Nest. Concluding the shoegaze portion of the playlist we have perhaps the only American band associated with the genre’s original heyday. Drop Nineteens put out a new album, Hard Light, in November of 2023, their first album in 30 years; this song didn’t make the album but came out of the same sessions.

Wheel – Empire. One of my favorite progressive metal bands going, Wheel has put out two singles from their forthcoming album Charismatic Leaders, this and the seven-minute “Porcelain.” The new album drops May 3^rd and will be their first as a trio after bassist Aki Virta left the band amicably last July.

Ministry – New Religion. Al Jourgensen is 65 years old now and as pissed-off as ever, with Ministry’s new album HOPIUMFORTHEMASSES, which he’s hinted might be their last, a furious tirade against incels, white nationalists, right-wing grifters, and Trump himself.

Judas Priest – Invincible Shield. Then we have Judas Priest, with three members in their 1970s, still shredding like in their peak, but definitely with a way more uplifting message than I’d expect from the folks behind “Breaking the Law” and “You’ve Got Another Thing Coming.”

Pallbearer – Where the Light Fades. The kings of American doom metal will release their fifth album Mind Burns Alive on May 17^th, their first new music since 2020’s Forgotten Days.

Ufomammut – Leeched. An Italian doom metal band who’ve been around for almost a quarter-century now, Ufomammut just crossed my radar for the first time about a week ago; this is some seriously heavy stuff, with menacing vocals to go along with it.

Messiah – Sikhote Alin. Messiah were part of the Swiss metal vanguard in the 1980s along with Celtic Frost and Coroner, then broke up in the mid-1990s and, as far as I knew, were done for good. They actually returned in 2020 with their first new album in 26 years, and just released their second post-reunion album, Christus Hypercubus, last month. Their music is still heavily rooted in thrash, with shouted vocals that are a little less abrasive than the typical death-metal style. This isn’t totally my cup of tea, but old-school thrash riffing will always appeal to me on some level.

Filed Under: Uncategorized Tagged With: 2024 in music, alternative, doom metal, folk music, indie, jazz, metal, Music, progressive metal, shoegaze, thrash

→ March 1, 2024
→ By keith

Music update, February 2024.

Hey, not too bad for a month of just 29 days, although I think the quantity of songs on a playlist has more to do with how many Fridays a month has than how many days. I’m posting this on March 1^st, which is a strong album release day (Liam Gallagher & John Squire, Everything Everything, Kaiser Chiefs, Ministry, Sheer Mag, Yard Act), leading into what looks like a very promising spring of new LPs from some great artists. As always, if you can’t see the Spotify widget below, you can click here.

Kacey Musgraves – Deeper Well. I’m pretty sure this is the first song by Musgraves I’ve ever put on a playlist. It’s just gorgeous, with a hint of darkness in the lyrics to contrast to the lovely guitarwork and harmonies in the chorus.

Khruangbin – May Ninth. A La Sala, their first proper LP since 2020’s Mordechai, comes out on April 5^th, and it seems like it may be a return to their all-instrumental style from their prior work.

Parsnip – The Light. Parsnip is an Australian quartet who released an album in 2019 called When the Tree Bears Fruit, but this was the first track I’d heard by them. It’s jangly, catchy indie-pop with some smart-ass lyrics, loosely descended from a lot of the Britpop stuff I was all about in my 20s. It’s from their upcoming album Behold, due out April 26^th, their first new music of any sort since 2020.

Kaiser Chiefs – Beautiful Girl. Kaiser Chiefs’ Easy Eighth Album comes out on March 1^st, their first LP since 2019, but even with production from Nike Rodgers, this is the only single I’ve heard of five worth listening to. It’s fantastic, though. Lead singer Ricky Wilson wrote a short, interesting retrospective on their sudden rise to fame and the vicissitudes of their career for The Guardian this past week.

Pond – Neon River. More weird psychedelic rock from down under. Stay with it through the lugubrious intro for the muscular, acid-tinged riffs in the chorus.

Elbow – Lovers’ Leap. Elbow came along at the wrong time for me, after Madchester and Britpop, two genres I still come back to all the time, but before I got back into current music again around 2007, thanks in no small part to the Arctic Monkeys’ debut album. I’ve checked in on them here and there, such as when they won the Mercury Prize for The Seldom Seen Kid, but their music has just drifted right on by me. That’s by way of explanation of why this is the first Elbow track to ever appear on one of my playlists: it’s not just that I think it’s good, but I think it’s very different. Frontman Guy Garvey promised the upcoming LP, Audio Vertigo, will be “groove-based,” and this song definitely qualifies.

Yard Act feat. Katy Pearson and David Thewlis – When the Laughter Stops. More post-punk goodness from Yard Act, with an appearance from Thewlis reading the “sound and fury” monologue from Hamlet. Their second album, Where’s My Utopia?, is out today, March 1^st.

English Teacher – R&B. There’s a slow start here but it picks up the pace partway through to sound more like other English Teacher tracks, with their modern take on post-punk; their debut full-length This Could Be Texas comes out on April 12^th.

Omni – Compliment. I seem to be very late to the Omni party, as the Atlanta post-punks have received critical acclaim for at least their last three albums now, including the just-released Souvenir, which has this track as the closer.

Squid – Fugue (Bin Song). I’m not always on Squid’s wavelength, but they’re one of the most innovative bands out there right now, especially in their punk-adjacent space, playing with time signatures and working outside of traditional keys. It’s a bit like black midi with less pretense.

Les Savy Fav – Legendary Tippers. I didn’t think LSF were still a going concern, but they’re about to release their first new album in 14 years, Oui, in May. They’ve dropped two singles so far; this one sounds similar to the sound they

Kid Kapichi – Get Down. Kid Kapichi have always reminded me of a harder-edged version of Arctic Monkeys, leaning more into punk than Alex Turner & company do, but here they go back a few decades with talk-sung lyrics telling a story before the hook in the chorus.

Cast – The Rain That Falls. So I sort of knew Cast were still around, but maybe I’d forgotten? I loved Cast in the 1990s – “Sandstorm,” “Alright,” “Beat Mama,” “Finetime” – as they emerged from the ashes of The La’s, whose Brian Wilson-esque frontman Lee Mavers refused to release any new music after their debut album. Cast’s latest LP Love Is the Call is a mixed bag, at best, but this is the best track on the album and you can hear their earlier Britpoppy sound poking through.

Everything Everything – The End of the Contender. These British art-rockers’ latest album, Mountainhead, drops on March 1^st, featuring this song, “Cold Reactor,” and “The Mad Stone.” Those three singles all have the EE sound, but they’ve also felt more restrained, without the sort of controlled chaos of Arc or A Fever Dream.

Love Fame Tragedy – It’s Ok To Be Shallow. The second single this winter from Matthew Murphy’s side project, after December’s “Don’t You Want To Sleep With Someone Normal,” with both sounding … a lot like the Wombats. I don’t think Murphy can write any other way, but fortunately I love most of what he writes, so we’re all good.

Ride – Last Frontier. Ride & Slowdive both making comebacks in the late teens ahead of, or perhaps encouraging, the new peak of shoegaze is a welcome development, given that I liked both bands in their original heydays but definitely did not fully appreciate either.

Brittany Howard – Prove It To You. What Now turned out to be a bit of a disappointment after the title track, the lead single from the record, was so good I named it my #1 track of 2023. I was hoping for more funk, but instead the album bounces all over the place, with a lot of house/electronica and a number of almost dirge-like tracks. Nothing lived up to the first single but this is the second-best song on the LP.

Little Simz – Mood Swings. Little Simz released a surprise EP, Drop 7, with seven tracks and a total run time of just 14:49; it is, as you’d expect, the seventh in a series of EPs that exist in parallel to her more traditional tracks on her albums. It’s weird, in a good way, although it reminds me I need to listen to No Thank You, her December 2022 album, again, as it came out in a dead time for new albums.

Paul Weller – Soul Wandering. Sixty-five and still rocking, Weller, the former leader of The Jam and The Style Council, is back with this soul-influenced track that has some powerful guitar work (I get a little early Tom Cochrane from it) before the Motown-esque backing vocalists come in for the chorus. His latest solo album, 66, will come out on May 24^th, one day before his 66^th birthday.

Waxahatchee – Bored. I can’t believe it’s been four years since Saint Cloud, Waxahatchee’s breakout album, came out, but I guess a fair amount has happened since then. This track is the second from her upcoming album Tiger Blood, due out March 24^th, and both songs seem to lean more into her alt.country side than the roots rock style of the last album.

The Mysterines – Stray. Lia Metcalfe and company will release their second album, Afraid of Tomorrows, on June 7^th. This lead single is more snarling than most of the tracks on their 2022 debut, Reeling, but not quite as fast-paced as their earliest singles, which remains my favorite version of the band. The song’s video definitely leans into Metcalfe’s looks and star power.

Slow Fiction – Apollo. An indie-rock group from Brooklyn – bet you haven’t heard of that before! – Slow Fiction put out an EP last year, followed by this one-off single, which does a tremendous job of building up energy and tension through the bridge and chorus, only releasing it in the final ten seconds or so of the track.

Screaming Females – Swallow the World. The Females announced their breakup in December, but they’ve now released their 2022 EP Clover, previously only available to buy at shows, on streaming sites and on bandcamp.

MAQUINA. – denial. I know very little about this band other than that they’re Portuguese, but this is very Ministry, with a little Death in Vegas thrown in.

Alcest – L’Envol. This French metal band pioneered the awkwardly-named subgenre of “blackgaze,” melding black metal elements with shoegaze, which was later taken over by the American band Deafheaven on their far less interesting album Sunbather. Anyway, Alcest has been putting out some of the best metal albums in the world in the last decade, and their first new LP in five years, Les Chants de l’aurore, will be out in June.

Filed Under: Uncategorized Tagged With: alternative, hip-hop, indie, metal, Music, post-punk, shoegaze

→ February 3, 2024
→ By keith

Music update, January 2024.

PSA: The top 100 prospects ranking runs on Monday for subscribers to The Athletic, followed by the ten guys who just missed on Tuesday.

January ended up a big month for new music, especially for new albums – it seems like a lot of artists/labels held stuff back from mid-November until after the New Year. Not included were some new tracks from ‘90s faves like the Jesus & Mary Chain, Buffalo Tom, and Black Grape. As always, if you can’t see the widget below, you can access the playlist here.

Liam Gallagher & John Squire – Just Another Rainbow. I can’t believe these two British rock icons (of Oasis and Stone Roses, respectively) have gotten together to put out an album, or that either of them sounds this good at their respective ages. The second single, “Mars to Liverpool,” was a bit of a letdown, though, and I’m hoping the record isn’t a bunch of mopers. Also props to Liam for knowing the order of colors in the visible spectrum.

Sprints – Heavy. This Irish punk act’s debut LP Letter to Self is going to end up on my top albums of the year, with this, “Adore Adore Adore,” “Up and Comer,” and “Literary Mind” all standouts.

Courting – We Look Good Together (Big Words). And Courting’s latest album, New Last Name, is also going to end up on my top albums of the year, leading with the poppy banger “Throw” followed by this track, with “Flex” and “The Wedding” also highlights.

Folly Group – Pressure Pad. Will Folly Group’s Down There! also make my top albums of the year list? We’ll have to wait on that one, but I’m a new fan of their experimental art-rock sound.

Bob Vylan – Hunger Games. “What will you win yourself tonight/spin the wheel for a chance at a hot meal.” The righteous anger here harkens back to the earliest days of punk, when working-class angst found its outlet in loud, short bursts of guitars and shouts.

Softcult – Heaven. I wasn’t familiar with Softcult until they popped up on my Spotify Release Radar playlist, which … well, sometimes the algorithm works, as they remind me a ton of early Lush (shoegaze era, not “Ladykillers”).

The Lemon Twigs – My Golden Years. I didn’t love the Lemon Twigs’ 2023 album Everything Harmony, although it made a slew of best-of lists for last year. This track has a way better melody than anything on that LP, with that same ‘60s power-pop sound that has some Beach Boys influence in the harmonies.

Talk Show – Red/White. Talk Show have been on my playlists for a few years now, so I was surprised to hear that their upcoming LP, Effigy, due out on the 16^th, is actually their debut. This last advance single has clearer vocals than in some of their other tracks, but still has that mélange of punk, goth, and industrial.

Waxahatchee & MJ Lenderman – Right Back To It. I’m here for just about anything Waxhatchee does, and it says something that I have a track by Lenderman, whose work as a solo artist and with the band Wednesday does nothing for me, on my playlist.

Ride – Peace Sign. Ride were part of the original shoegaze movement, so it amuses me that they’ve moved into a much different space, more psychedelic dream-pop than the minor-key noise of shoegaze. I like both iterations, for what it’s worth.

Shabazz Palaces feat. Stas THEE Boss & Irene Barber – Angela. Shabazz Palaces is Ishmael Butler, formerly known as Butterfly while he was in the seminal jazz-rap trio Digable Planets. His output under the new moniker, which used to be a duo until Tendai Maraire departed the group, is more experimental, with funk, jazz, and electronic elements, although hip-hop still finds its way into many of their tracks. This song comes off their upcoming album Exotic Birds of Prey, due out March 29^th.

Jamie xx – It’s So Good. Yes, yes it is. Jamie xx – of the xx, of course – had two all-timers from his first true solo effort, “Loud Places” and “SeeSaw,” but this is the first thing he’s released since that 2015 record that’s captured that same ebullient feeling.

Etta Marcus – Girls That Play. Marcus’s second album, The Death of Summer & Other Promises, came out on January 24^th. Her alt-pop style reminds me of Ingrid Michaelson, but less cloying.

Yard Act – We Make Hits. I loved Yard Act’s debut album, and they’ve clearly evolved their sound to incorporate some new elements without losing the sardonic, witty lyrics and offbeat rhythms that made The Overload so good. Where’s My Utopia? comes out March 1^st.

Sheer Mag – Moonstruck. Sheer Mag’s third album, Playing Favorites, comes out March 1^st, and this track might be the poppiest thing the Philly garage-rockers have ever put out.

The Libertines – Shiver. The likely lads are sounding older, wiser, and … sober? Carl Barât’s vocals will always give their music a rougher edge, but the Libertines may actually have grown up a little.

Khruangbin – A Love International. A peak-form instrumental track from the Texas Thai-jazz trio ahead of their new album À la Sala, due out April 5^th.

Bill Ryder-Jones – If Tomorrow Starts Without Me. The best track on Ryder-Jones’s acclaimed new album, Iechyd Da (a Welsh toast meaning “good health”), this is also one of the only ones that doesn’t move at the pace of a funeral dirge.

swim school – Give Me a Reason Why. More shoegazey goodness from this Glaswegian trio ahead of a headlining tour in the UK.

Sunny Day Real Estate – Novum Vetus. I don’t know if it needed to be seven minutes, but hey, any SDRE track is good by me. It’s their first new release in ten years, although the song itself originated in the sessions for the 1997 album How It Feels to Be Something On.

Real Estate – Haunted World. I had to put these two back to back, didn’t I? Otherwise I might have lined this up with the Lemon Twigs, as it’s got a similar vibe, an acoustic track that reminded a lot of the Shins.

GEMZ – Younger. GEMZ is Jen Wood and Ted Chen, and if you’re close to my age, you might remember Jen Wood’s short-lived band Tattle Tale from the early 1990s, or maybe you know her from her contributions to The Postal Service. This is her newest endeavor, but her vocals are the draw no matter the style of music.

TORRES – Happy Man’s Shoes. What an Enormous Room, TORRES’s sixth album, came out on January 26^th, and the tracks I’ve heard seem weirder than their previous output, but in a good way. I saw one review compare the LP to Goldfrapp, which I can definitely hear on this track.

Masta Ace & Marco Polo feat. Coast Contra – Certified. Yes, that is Masta Ace of the Juice Crew, which also featured Big Daddy Kane and Kool G Rap, and for a man of 57 who’s fighting MS he sounds damn good.

Judas Priest – Crown of Horns. These Rock and Roll Hall of Fame inductees will release their nineteenth LP, Invincible Shield, in March, featuring this oddly upbeat track (which still has some great soloing). Glenn Tipton is credited as appearing on the album, although he’s now 76 and has been dealing with Parkinson’s for over a decade.

Tom McGovern & Cory Wong – Everything Smells Like Salmon. I’m not much for joke songs, either because they’re not funny or because the joke wears thin after one listen, but this one has some staying power. It’s pretty funny, the lyrics are very clever, and Wong’s guitar work is always worth a spin.

Filed Under: Uncategorized Tagged With: 2024 in music, alternative, hip-hop, Music, shoegaze

→ December 22, 2023
→ By keith

Top 100 songs of 2023.

This year’s top 100 was more of a struggle than most years, although by the end of the process I was still about a dozen songs over the limit; I just had to go back over a number of my monthly playlists and revisit some tracks and albums I’d missed before I could reach that point. I’m pretty happy with the outcome, though, and I think the top of the list is strong even if 2023 wasn’t a peak year for great new songs. You can see my previous years’ song rankings here: 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012. I posted my ranking of the top 23 albums of 2023 earlier this week.

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

100. Griff – Vertigo. Pure pop greatness from Griff, who just doesn’t miss whether she’s going for sunnier sounds (like this track) or melancholy ballads (like her song way farther up this list).

99. Del Water Gap – Quilt of Steam. I am now old enough that my daughter is telling me about artists that end up on my playlists; I hadn’t heard of Del Water Gap, who has been releasing music on his own for over a decade and put out his second album for Mom + Pop Records this fall, until she mentioned him to me, after which Spotify served me this track on my Release Radar. Sometimes the algorithm works.

98. Ghost of Vroom – Still Getting It Done. Mike Doughty’s latest project is the closest thing he’s done to Soul Coughing since the seminal drum-n-bass group called it quits after El Oso, driven by his sung/rapped lyrics and music that’s a little more ornate (and funky) than SC’s but still driven by percussion and heavy bass lines.

97. Beck & Phoenix – Odyssey. These two artists released a one-off collaboration to kick off their joint summer tour, and while I don’t think Beck exactly extended himself here, it’s similar to Phoenix’s musical revival on last year’s Alpha Zulu, and bouncy like a good summer hit should be.

96. bdrmm – It’s Just a Bit of Blood. These guys were about three years ahead of schedule for the shoegaze revival, ending up lumped in more with avant garde noisemakers black midi than with their true brethren. Their second album, I Don’t Know, came out this year and was similar to their first one but a little more upbeat, perhaps with more major keys than its predecessor offered.

95. Etta Marcus – Smile for the Camera. A sultry sophisti-pop track from this 22-year-old London singer’s EP A Heart-Shaped Bruise. I’d recommend this to fans of boygenius but if you like your singers to really sing.

94. Bully – Days Move Slow. The best song you’ll ever hear about a dog’s death. Bully’s album made a lot of top ten lists, but I find her nasal vocals hard to take for more than a song at a time. This had by far the best guitar hook on the record and I think justifies some of the musical comparisons and Nirvana.

93. Queens of the Stone Age – Paper Machete. The top track from In Times New Roman… has a heavy guitar riff appropriate to Josh Homme’s oeuvre, although I found the album as a whole kind of lacking in the rougher edge that characterized a lot of his earlier work.

92. Killing Joke – Full Spectrum Dominance. Jaz Coleman & company have undergone many iterations over their 44-year history, but their final act appeared to be their industrial-metal phase and their incredible swan song LP, 2015’s Pylon. They’re not quite done, however, and have returned with the occasional one-off single, including this one, which certainly would have fit well on Pylon, ahead of their 2023 tour.

91. Brooke Combe – Black is the New Gold. The title track from this Scottish soul singer’s newest album packs some clever turns of phrase and a driving bass line, along with a little flute interpolation that calls back to the genre’s 1970s heyday.

90. SENSES – Drifting. This Coventry four-piece first promised their debut album Little Pictures Without Sound in 2021, after over a decade working together, but the pandemic and other factors delayed its release until April of this year. This is the album’s strongest track, sitting somewhere between the Oasis end of Britpop and the spacier sound of Doves.

89. The Lottery Winners – Worry. I didn’t love their sophomore album Anxiety Replacement Therapy as much as I did their debut, which was absolutely packed with hooks and full of general cheer. This track had the most in common with their first album.

88. Seablite – Melancholy Molly. I was a big fan of Lush in their 1990s heyday and enjoyed member Emma Anderson’s solo debut album this year, so Seablite’s music is catnip to me. I also love that they call themselves “odd pop.” It is poppy, and they’d have every reason to jump on the shoegaze bandwagon, but they appear to have chosen their own path.

87. The Kills – New York. God Games marked this duo’s first album and first original material in seven years, although it was hit or miss for an album that in theory they’d had several years to work on. They’ll never top “Sour Cherry” for me, but if you liked “Doing It to Death,” this track is in that vein.

86. Everything Everything – The Mad Stone. I preferred this to “Cold Reactor” of the two singles EE has released so far ahead of their upcoming album Mountainhead, although both have elements of the band’s manic art-rock style, including Jonathan Higgs’ rapid-fire singing.

85. Folly Group – Big Ground. Speaking of Everything Everything, this track from Folly Group, whose debut album Down There! is due out on January 12^th, reminds me quite a bit of early EE, mixed with a little early post-punk in the chorus.

84. Screaming Females – Brass Bell. Screaming Females announced their dissolution earlier this month, about nine months after they released their eighth and presumably final album, Desire Pathway. I don’t know their discography well at all, so I can only say this is a pretty great showcase of singer/guitarist Marissa Paternoster’s voice and guitar skills, enough that I’ll be watching to see if she releases another solo album.

83. Courting – Throw. I can’t place that opening riff, but it reminds me of some other track I liked from maybe 20-25 years ago; the rest of the song is like a smarter, snarkier emo track, and the whole song has a great bounce to it. New Last Name comes out January 26^th.

82. swim school – delirious. “swim school” is not an SEO-friendly band name, but this song rocks very hard, bordering on metal, with singer Alice Johnson’s voice a perfect foil for the crushing guitars. They put out a four-song EP this year and ended up opening for the Amazons, a British band known for giant guitar riffs, to close out 2023.

81. Public Image Ltd. – End of the World. PIL’s return this year wasn’t a surprise in and of itself, but the content was – first a touching song, “Hawaii,” about founder John Lydon’s wife, who at that point was dying of Alzheimer’s disease and passed away a few weeks after the song’s release; and then this banger, with a swirling guitar riff and Lydon’s voice as potent and angry as ever.

80. SPRINTS – Adore Adore Adore. I’ve been on the bandwagon for these Irish punks for a few years now, and we’re finally getting their debut album, Letter to Self, on January 5^th, including this track, “Up and Comer,” and “Shadow of a Doubt.”

79. Ratboys – Making Noise for the Ones You Love. Many people whose taste in music I respect, including Blake Murphy of Sportsnet/The FAN 590, love Ratboys; I think most of their songs sound like Waxahatchee singing over a shoegaze band and it doesn’t work for either. The combination does work on this track, in part because of how singer Julia Sterner sings between the verse and chorus. (I had a similar but more pronounced objection to Wednesday, whose singer sounds like she’s whining and deliberately goes off key so often I have never made it through the entire album.)

78. The Mysterines – Begin Again. I loved the early singles from Lia Metcalfe’s band, but their debut album, Reeling, didn’t include any of their best songs, so I felt a little let down by the LP. This song, their only new material in 2023, shows off her deep, smoky voice, and has a slow burn to the melody, so while it doesn’t quite rock like their pre-Reeling offerings it’s pretty compelling. Also, this track is part of a sort of Easter egg on the top 100, if you’re paying attention.

77. Arlo Parks – Impurities. My Soft Machine may be the moment that Parks broke out into mainstream success, at least in Europe, as she turned just slightly in the direction of electro-pop without losing her voice or the sparse approach of her debut album. I loved just about everything on the album, but there were two tracks that stood above the rest for their melodies. This was one.

76. Dexys – I’m Going to Get Free. It was a good year for ‘80s bands coming back around; PIL appeared above, Simply Red put out a solid album, Depeche Mode issued their Memento Mori to eulogize the late Andy Fletcher, and Dexys returned with The Feminine Divine, seven years after singer Kevin Rowland appeared to say he was retiring from music. This track brings back the sound of Philadelphia soul with big brass lines and a giant, catchy beat, while Rowland’s voice is still as distinctive as it was on “Come On Eileen” some 41 years ago.

75. Bartees Strange – Tisched Off. Strange issued two tracks as part of a singles series from Sub Pop, with this indignant rocker, ranting about posers in the industry, the better of the two.

74. Noname – Namesake. Picking any tracks off Sundial, my #2 album of 2023, for a singles list was difficult because the album as a whole is such an immersive listen, but I did have two that stood apart enough that I might listen to them on their own (rather than doing the entire album straight through).

73. CHVRCHES – Over. The Scottish trio released this one-off single to commemorate their signing with Island Records and, in their words, to serve as a bridge between 2021’s Screen Violence and whatever comes next.

72. Corinne Bailey Rae – New York Transit Queen. Rae’s genre-hopping on Black Rainbows extended to garage-rock here, bordering on punk, in a song with very little in the way of lyrics beyond Rae chanting the title.

71. Fucked Up – Cicada. The rest of Fucked Up’s latest album, One Day, is much more in their typical vein of hardcore punk, but my God does this sound like a lost track from Hüsker Dü’s Warehouse: Songs and Stories. This is part two of four for that Easter egg I mentioned above. I won’t tag the last two, though.

70. Bombino – Alwane. I admit to having no idea who Bombino was until I heard this track on one of NPR Music’s weekly new music playlists, but that’s on me, as the Nigerien (as in, from Niger) singer/guitarist was the subject of a 2010 documentary called Agadez, the Music and the Rebellion. He’s also the first artist from Niger to receive a Grammy nomination (Best World Music Album, for 2018’s Deran). This track is from his latest album, Sahel, a tribute to the region where he grew up and, on this track, to friends he’s lost in the area’s many armed conflicts.

69. Creeper – Sacred Blasphemy. The first track I heard off Sanguivore is bombastic, theatrical, and throws back to the earliest stages of glam rock (think Mötley Crüe’s Too Fast for Love). Needless to say, it’s right in my wheelhouse.

68. Sampha – Suspended. Sampha’s voice really soars on this track off Lahai, one of the year’s best albums, as he sings about becoming a father over a light piano backing, with some staccato call-and-response to the verses that add texture and a little complexity to the song.

67. Black Honey – Cut the Cord. Black Honey’s third album A Fistful of Peaches was a departure for the Brighton indie-rockers, with some harder-edged songs (notably the 2022 single “Charlie Bronson”), but fewer of the big melodies than they had on their first two albums. “Cut the Cord” was never released as a single, but it was among the 2-3 best tracks on the album.

66. Jungle feat. Erick the Architect – Candle Flame. Jungle’s Volcano was my least favorite album from the English soul-revival duo yet, between the lack of interesting melodies and some experiments that didn’t pay off. Erick the Architect’s verses here are the best stuff on the album, and outside of the slightly annoying falsetto in the chorus, Jungle mostly stays out of his way.

65. boygenius – Satanist. I’m not a huge fan of the solo output of any of the three talented women in boygenius, primarily because of their singing style, which is more undersinging – they just don’t let it rip very often – and their tendency towards melancholy rhythms. This was by far the strongest track for me from their newest record, called the record, which netted them five Grammy nominations (two for the album, three for specific songs).

64. Cloud Nothings – Final Summer. Dylan Baldi & company signed to the punk label Pure Noise and released this new single in November, which … sounds just like Cloud Nothings, with a big hook to open it up and a tempo that makes you want to get behind the wheel and hit the gas.

63. DMA’s – Everybody’s Saying Thursday’s the Weekend. After their first two albums earned them comparisons to Oasis (which Noel Gallagher shat on, but Liam later endorsed), DMA’s shifted to a more electronic sound on their third album, then veered back towards the middle of the two genres on this year’s How Many Dreams?, failing to hit on either cylinder. They’ll never get back to the heights of “For Now” or “Too Soon,” I fear, but this sunnier track gets somewhat close with a hook and guitar work worthy of the Britpop comps.

62. The Japanese House – Sad to Breathe. Amber Mary Bain’s album In the End It Always Does was one of the year’s best, with two songs from it that blew me away back when they came out as singles in the spring. This one starts out like a mournful piano ballad about a lost love, then jumps from first to fourth gear around the 1:15 mark (I think that costs you several Heat cards) with an electronic percussion line and guitar that completely changes the texture of the vocal melody.

61. Blondshell – Salad. Another acclaimed album that just didn’t do it for me, as I don’t think Sabrina Teitelbaum’s melodies or voice are strong enough to support some decent rock hooks and thoughtful lyrics. This track has the album’s best riff and it plays perfectly against the angry lyrics.

60. Peace – Happy Cars. Peace self-released their latest album, Utopia, in the spring via a password-protected website, then issued it on vinyl in November. This single is the only track available via streaming sites right now; to hear the rest you have to purchase it, which the brothers Koisser told NME was “career suicide” according to their mates. I don’t know what to think of that – isn’t streaming killing the industry slowly anyway? Anyway, I love the melody here and have had this song in my head on and off for a month now.

59. Protomartyr – For Tomorrow. Formal Growth in the Desert was one of my favorite albums of 2023 and is an excellent distillation of what post-punk sounds like in its current incarnation, similar to Ceremony and more recent Thrice.

58. Yard Act – Dream Job. Yard Act released three singles this year, with a new album due out in March, and there’s some evolution in their sound already from their 2022 debut The Overload, with more musical elements and some electronic/dance ingredients as well. I also liked “The Trench Coat Museum,” but it’s eight minutes long and even I felt like it wore out its welcome by the end.

57. STONE – I Gotta Feeling. “Shout out to the writers of Peaky Blinders/You inspired a new age of wankers.” There’s a lot of punk to STONE’s lyrics and spoken-sung vocals, but musically they’re somewhere between alternative rock and hard rock, showing some of that range on their latest EP punkadonk2.

56. Slow Pulp – Cramps. Slow Pulp can rock a bit, harkening back to mid-90s alternative rock, and when they do I’m a big fan. Their album as a whole was a little disappointing, as so many of the songs were quiet and slow … I don’t know what I expected, really.

55. Deeper – Glare. The best track from Careful! still has that late ‘70s post-punk vibe, but it’s brighter and catcher, with a real earworm in the main guitar line.

54. Siracuse – Saviour. I compared this track to peak Charlatans when I put it on a playlist in April, and I think that holds, even to some extent to the sound of the vocalist, while the opening guitar riff still gets stuck in my head every time I listen to it.

53. Brad – Hey Now What’s the Problem. Brad’s final album, In the Moment That You’re Born, seems to have landed almost unnoticed this year, which is a shame because it’s both a fitting coda to the band’s unusual and diverse catalog, and a tribute to singer Shawn Smith, who died in 2019. The remaining band members, including Pearl Jam’s Stone Gossard, completed tracks where Smith had recorded his vocals, including this funk-rock track that recalls Smith’s work with Pigeonhed.

52. BLOXX – Modern Day. The title track from BLOXX’s August EP is the best thing they’ve done since their debut album, 2020’s Lie Out Loud, another great pop-punk track with a solid harmony in the chorus.

51. Drums – Isolette. Annoyingly catchy, but with a serious undercurrent – the entire album, Jonny, represents Jonathan Pierce’s efforts to reckon with his upbringing in a fundamentalist Christian church, abuse he suffered, and being gay in a community that wouldn’t accept him.

50. milk. – I Think I Lost My Number Can I Have Yours? This Irish pop band put out a few EPs this year, culminating in a seven-track release called 3, the EP, that included everything they’d released in 2023, led by this lilting pop gem that recalls some ‘70s soft-rock icons like 10cc.

49. Altin Gün – Rakiya Su Katamam. One of my two favorite tracks from this Anatolian rock band’s album Ask, along with “Su Siziyor;” this one gets the nod for the top 100 because of that swirling guitar riff that pops back up throughout the song in slightly different forms. Altin Gün’s blend of psychedelia and traditional Turkish music sounds like nothing else I’ve heard, and they have a great sense of melody on top of that to put the Turkish lyrics (which I don’t understand) in my head.

48. Squid – Swing (In a Dream). Squid’s experimental sound generally leaves me cold, even though I respect the ambition and risk-taking; O Monolith, their second album, saw them rein in the sound just enough to introduce some more traditional sense of melodies, particularly on this track, which has a strong hook in the chorus but sees Ollie Judge finish his vocal lines with a little upturn at the end to keep the listener off balance.

47. Nabihah Iqbal – This World Couldn’t See Us. I don’t use the subgenre term “cold wave” very often, but it sure fits here – Iqbal’s album DREAMER spans many genres, but this track, my favorite from the LP, has that detached lyrical style and electronic music that feels dark and gloomy, fitting the themes in her lyrics.

46. Pynch – Tin Foil. “I’m saving up for the apocalypse/Cause there are gonna be deals” remains my favorite line of the year from any song. This London indie-pop quartet put out their debut album Howling at a Concrete Moon in April.

45. Hotline TNT – I Thought You’d Change. As much as Hotline TNT earns the shoegaze tag with their production and heavily distorted guitars, you can still discern specific guitar lines on most of their tracks, and here they’re quite pronounced in a way that feels pretty timeless – these are guitar sounds you’d hear in many rock genres in almost any era of music from the 1970s onward.

44. Sundara Karma – Wishing Well. I need to listen to this band’s latest album, Better Luck Next Time, as I have always liked their brand of guitar-driven indie pop, which reminds me in several ways of early U2. I love the way this track builds to the big guitar distortion in the chorus, which recalls My Bloody Valentine’s “I Only Said” (my favorite song by MBV and one of the few of theirs that I like).

43. Belle & Sebastian – I Don’t Know What You See in Me. Belle & Sebastian aren’t a pop band, and they don’t often veer into poppy territory, but there are few bands in the world who do pop better than these Scots do.

42. Pastel – Your Day. Credit to MLB.com’s Matthew Leach for posting about this song and introducing it to me. It’s very Big Pink, a little Britpop, muscular throughout yet still deeply melodic at its core. It’s the only track they released this year, unfortunately.

41. Geese – Cowboy Nudes. Geese’s 3D Country isn’t an album of singles, but more of a complete experience that bounces across an absurd number of genres and styles. If there’s a ‘hit’ of sorts here, it’s this song, which has a proper hook in the chorus on top of the experimentation beneath it.

40. White Reaper – Fog Machine. Is this “Detroit Rock City?” Maybe a little “The Boys Are Back?” It’s very ‘70s, a little less Maiden/Mötorhead than the rest of Asking for a Ride, so it stands a little more on its own. I really need to see these guys live at some point because it seems impossible that they don’t put on a raucous show.

39. Momma – Bang Bang. Momma’s one original track this year is, uh, a banger, although I think last year’s “Speeding 72” was a little better. They seem like the direct descendants of Veruca Salt, with a little Breeders thrown in.

38. The Libertines – Run Run Run. I’m always surprised when the Libertines return because, well, I suppose that’s obvious if you’ve followed the band at all for the last twenty-odd years. They’ve put out two singles ahead of their upcoming fourth album, their first in nine years and just their second since 2004, including this and “The Night of the Hunter.”

37. Kid Kapichi – Let’s Get to Work. One of three new tracks from Kid Kapichi this year, along with “999” and the oddball “Tamagotchi,” which features some rapping that’s on the border of cringe for me but still has a banger of a chorus. They’ve become one of my favorite active bands over the last three years, a sort of working-class successor to the Arctic Monkeys for me.

36. Caroline Polachek – Blood and Butter. I liked quite a bit of Polachek’s work with Chairlift, including “Ch-Ching” and “I Belong In Your Arms,” but her solo work has been too weird for me, almost anti-pop in some ways, which often doesn’t do justice to her incredible voice. This is my favorite solo track from her so far, though, with several hooks in the vocals and the music to bring me back.

35. Corinne Bailey Rae – Erasure. If you saw CBR’s career detour into garage-punk that bordered on hardcore coming, well, hats off to you. I’ll be over here calling Paul Goldschmidt a platoon bat. Black Rainbows is a real tour de force, and “Erasure” shows her vocal range and gift for theatrics as well.

34. English Teacher – The World’s Biggest Paving Slab. That guitar line is just killer, and then you get to the wry, witty lyrics. English Teacher put out three songs in 2023, two of them strong (this and “Nearly Daffodils”), which I assume is a harbinger of an LP next year now that they’ve signed to Island Records.

33. Genesis Owusu – Stay Blessed. Eddie Murphy had a routine in Delirious where he referred to Teddy Pendergrass’s vocal style, mimicking him shout-singing “YOU GOT, YOU GOT, YOU GOT WHAT I NEED!” and saying he would “scare the (women) into liking him.” Owusu kind of sings like that, except here you feel his rage, and it is very effective.

32. Yves Tumor – Lovely Sewer. A great case of where critical acclaim led me to reassess an album; Yves Tumor has always been so hard to pin down musically that I don’t think I’ve ever gotten a good handle on his previous albums, but Praise a Lord Who Chews But Which Does Not Consume grabbed me on a second (and third) listen. Even as he’s playing with genres and textures, there’s a foundation to most of his songs that compels you to keep going … and then he drops the drum machine for a brief piano interlude to throw you off the scene once again.

31. Slowdive – alife. Not the last Slowdive song on this ranking. I have become a bigger Slowdive fan in their comeback phase than I was in their original heyday around Souvlaki (a great album I appreciate more in hindsight).

30. Baby Queen – We Can Be Anything. Baby Queen’s album was a letdown after this strong lead single that recalls the avant-pop of Grimes’ Art Angels period.

29. The Joy Formidable – Share My Heat. That drum/bass opening gives you some indication of the pulse of the song, and then at the 45-second mark, the guitar riff arrives to knock you out of your seat. I gave you the radio edit here, not the 15-minute version.

28. Daughter – Swim Back. Daughter’s previous album was the soundtrack to the video game After the Storm, and you can hear some of that atmospheric influence here on this track off Stereo Mind Game in the layered synth lines.

27. The Last Dinner Party – Sinner. I couldn’t get on board with the praise for TLDP’s debut album, although it’s not about the excessive hype around the band – I don’t think their songs sound very finished, or their melodies polished. This is by far the best song on the album, and even in the chorus you can hear some of the cracks in the foundation. My glass-half-full side says they’ll produce something better with more time and experience.

26. Creeper – Teenage Sacrifice. They’re so gleefully over the top that it sells me, even though it sounds like Suede mashed up with Dokken doing a concept album about a modern-day vampire. “Can you live without your life?” is a funny one-liner, too.

25. Temples – Cicada. Temples will never leave the 1970s and I’m fine with that. The new album was less consistent than its predecessor, although this track with its spiraling synth hook is as good as anything they’ve done.

24. U.S. Girls – Tux (Your Body Fills Me, Boo). My friend Tim Grierson had U.S. Girls’ Bless This Mess as one of his top albums of the year, so I gave it a fresh listen earlier this month and while the album as a whole doesn’t work for me – I don’t think Meghan Remy can do slower material half as well as she does dance tracks – if the whole LP had been made out of (waves hands) this it would have made my top ten.

23. The Hives – Bogus Operandi. This is how you announce a comeback: With giant guitars and huge riffs bursting at the seams with bravado and testosterone. This track is right up there with peak Hives tracks like “Hate to Say I Told You So” and “Walk Idiot Walk.”

22. Speedy Ortiz – Ranch vs. Ranch. I like Speedy Ortiz for about three songs per album, which was true again for Rabbit Rabbit with this track, “Scabs,” and “You S02.” Sadie Dupuis’s songs always try to strike a balance between melody and their signature dissonant sound, thriving on the contrast when she gets that balance right.

21. Girl Ray – Everybody’s Saying That. Girl Ray’s album Prestige is a fun romp of disco/funk tracks that’s a little one-note, highlighted by this track and “Tell Me.”

20. Jorja Smith – Little Things. I love how this track starts out like it’s going to be a scat jazz song, then shifts into a jazzy R&B track without losing any of its energy. We had to wait a long time for her second album but it was well worth it.

19. Weakened Friends – Awkward. I wrote previously that I thought this might be a Sleater-Kinney track; the vocals here are obviously inspired by Corin Tucker, but it has a generally brighter vibe than S-K’s music.

18. flowerovlove – Next Best Exit. I think the 18-year-old flowerovlove is the youngest artist on the top 100 this year, and she’s already done some modeling for Gucci in addition to releasing an EP and a handful of strong singles, including this one, “Coffee Shop,” and the newest “Girl Like Me,” all of them warm, sophisticated electro-pop.

17. Noname feat. Common and Ayoni – Oblivion. Sundial is strong just about from start to finish on the power of Noname’s skills and incisive, brilliant lyrics, with this track the best on the album because of the beat and because Common isn’t hawking a free iPhone from T-mobile.

16. Grian Chatten – Fairlies. The lead singer of Fontaines D.C. surprised us all with his mostly acoustic, quiet solo album, highlighted by this trick with cynical lyrics over a shuffling Irish jig.

15. Griff – Astronaut. “You said that you needed space/Go on then, astronaut.” This gorgeous collaboration with Coldplay’s Chris Martin is Griff’s most intimate song yet, and I don’t know how it hasn’t become a huge viral hit already. It’s better than “Drivers License.”

14. Sampha – Spirit 2.0. Sampha’s second album, Lahai, is track after track of simple yet inventive music behind Sampha’s vocal acrobatics. This is my favorite song from the album, thanks to the contrast between the frenetic electro-beat and his softer vocals.

13. Charly Bliss – You Don’t Even Know Me Anymore. We got two new tracks from this Brooklyn power-pop band in 2023, their first new music since 2019’s Young Enough, and this is one of the best things they’ve ever done.

12. Slowdive – the slab. Everything Is Alive has been a triumph for these O.G. shoegazers, on par with 1993’s Souvlaki, boosted by the general revival around that niche genre from the early 1990s (so named because the musicians would seldom look at the audience, often looking at their effects pedals or, presumably, their shoes). And while their sound is still shoegaze at heart, there’s melody here, and production that keeps the various instruments and the vocals clear and distinct for most of the record.

11. Daughter – Be On Your Way. “So I’ll meet you on another planet/if the plans change” gets stuck in my head for days every time I hear this, and the various synth lines here come together to create a sense of vaguely unsettling sadness befitting the lyrics.

10. Cody Wong & dodie – Call Me Wild. I enjoyed Wong’s latest album, The Lucky One, with its panoply of collaborations, although Wong is nearly always the star of his own show with his guitar wizardry and genre-hopping. “Call Me Wild” is the one song here that’s a real pop single with funky guitars, a great hook, and vocals by English singer dodie.

9. Billy Porter – Children. A joyous, celebratory dance track about living your truth, from the Emmy & Tony winner’s first pop album, Black Mona Lisa.

8. Megan Thee Stallion – Cobra. Her only solo single of the year is a revealing look at her mental health struggles over the past few years – and an indictment of the hangers-on who didn’t notice or help her – followed by a killer guitar riff to wrap things up.

7. The Beths – Watching the Credits. I can’t remember the last time an extra track from an album’s deluxe edition was this good. “Watching the Credits” came out this spring on the deluxe version of Expert in a Dying Field, my #1 album of 2022, and it’s at least a top 5 track on the LP.

6. Arlo Parks – Blades. The perfect combination of Parks’s sweet, lithe vocals and her new shift into more electro-pop sounds on My Soft Machine.

5. Jessie Ware – Begin Again. Ware’s album That! Feels! Good! earned its way on to many best-of-2023 lists, and this samba-tinged track is easily the best on a record of unabashedly sunny pop material, although I will forever wish horrible things on whoever wrote the vacuous line “give me something good that’s even better than it seems.”

4. Pip Blom feat. Alex Kapranos – Is This Love? Not a cover of the Whitesnake song, fortunately, but a summer banger from this Dutch pop band and the lead singer/guitarist of Franz Ferdinand. It came out in May but has stuck with me all year, from the big arrangements behind “I wanna feel you in my dreams” to the disco/rock blend behind the two singers’ shared choruses.

3. Young Fathers – Rice. My #1 album of the year, Heavy Heavy, included this track and “I Saw,” which made my 2022 list but would be much higher if I re-ranked those songs now. (It’s an issue with songs that come out late in any calendar year – I actively try to avoid recency bias, and often keep those songs lower than they belong, or else I just haven’t had enough time to appreciate them.) I linked this in the albums post as well, but you have to see these guys perform both songs and two more live on KEXP.

2. The Japanese House – Boyhood. A lush, immersive dream-pop track elevated by Amber Mary Bain’s falsetto and her lyrics about the end of a relationship and the void that’s left behind.

1. Brittany Howard – What Now. The former Alabama Shakes singer/guitarist released this title track to her upcoming second album, due out February 2^nd, and it is a lightning bolt of funk, blues, and righteous anger, culminating in the chorus’s final line, “If you want someone to hate then blame it on me.” I recognized Howard as a talented guitarist from her time with the Shakes, but this is another level of songcraft and a big shift from her first album, which was mostly blues rock and the odd synth-heavy track. With her follow-up single, “Red Flags,” it seems like she’s going in new directions with What Now. I can’t wait.

Filed Under: Uncategorized Tagged With: 2023 in music, alternative, hip-hop, indie, Music, post-punk, rankings, shoegaze

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