→ November 1, 2020
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Music update, October 2020.

October turned out to be a great month for new music, perhaps boosted by five Fridays (I feel like music analytics would have to adjust for that). I also think that the pandemic and inadequate responses by many developed nations have left musicians and labels at the point where they don’t feel like they can keep delaying releases – movie studios have a financial incentive to keep kicking the can down the road, but record labels don’t. So this month I have 24 songs on the playlist, with over 90 minutes of new music, running the full gamut of musical styles I like. You can access the playlist here if you can’t see the widget below.

King Gizzard and the Lizard Wizard – Automation. Maybe the best guitar riff of the year. I don’t love everything King Gizzard does, but I’m always amazed by their musical shapeshifting. They can move from psychedelia to metal to blues rock and in between and still put out two albums a year.

Creeper – Annabelle. Creeper’s first album was a horror-themed punk record, but they’ve remade themselves on their sophomore album, Sex, Death & the Infinite Void, which is one of the best LPs of 2020, a mad, sprawling record that recalls Suede, the Killers, My Chemical Romance (in a good way), Americana, and elements of early 1980s post-punk/new wave. Some other standout tracks on the album include “Paradise,” “Cyanide,” and “Poisoned Heart,” but really the whole album is incredible.

HAERTS & Ed Droste – For the Sky. I don’t know if or when HAERTS will give us a new album – lead singer Nini Fabi just had a baby, which I’m sure impacts their timeline – but this one-off track with Grizzly Bear’s Ed Droste is a lovely interlude to tide us over.

Peking Duk & the Wombats – Nothing to Love About Love. I wasn’t familiar with the Australian “mad rock” duo Peking Duk, but this came on my Release Radar because I’m a huge fan of the Wombats – and this sounds like a Wombats song remixed.

Battles, DJ Dairy, & DJ Orient – Stirling Bridge. Battles put out a call for artists interested in remixing tracks from their 2019 album Juice B Crypts, and the resulting EP will come out on November 20th. This track comes from two members of black midi, and it’s not a remix of any single song but a new creation from the raw tracks Battles recorded when making the original record.

Goodie Mob ft. Organized Noize – Frontline. Goodie Mob’s first album in seven years, Survival Kit, comes out on November 13th, with tracks featuring André 3000, Big Boi, and Chuck D. This single is an anthem for Black Lives Matter protesters, with prominent mention of the federal government’s use of tear gas on peaceful demonstrators. Cee-Lo also appeared on a new track from Big Boi and Killer Mike called “We the Ones,” which has great work from the two MCs but sluggish music and mailed-in vocals from Cee-Lo, who is a pretty terrible person anyway.

Tori Handsley ft. Ruth Goller and Moses Boyd – What’s in a Tune. Tori Handsley is a jazz harpist who’s been playing with other artists since at least 2010, but is just now releasing her first music under her own name, leading a trio that includes drummer/producer Moses Boyd (whose Dark Matter is one of my favorite albums of 2020). I heard this song before knowing anything about Handsley, and I assumed Handsley was playing a guitar via two-handed tapping, or maybe a Chapman stick, but she gets sounds and patterns from the harp that I don’t associate with that instrument.

Jorja Smith ft. Popcaan – Come Over. This new track from the Mercury-nominated English singer-songwriter Smith appears to be a prelude to a sophomore album, although it’s at least her third single since Lost & Found came out in 2018. It has a more obvious reggae influence than the last few tracks and includes a contribution from dancehall artist Popcaan, although I don’t think he brings much to the table.

Arlo Parks – Green Eyes. Parks’ debut album is finished, and due for a release early in 2021, but this is at least her fifteenth single to date, at least according to her artist page on Spotify. I’ve been late to this party but her voice is gorgeous and whatever you might call her style of music – it’s soulful but not really soul, folk-ish but definitely not folk – I’m here for it.

TRAAMS – Intercontinental Radio Waves. I hadn’t heard TRAAMS before this song, but they released two albums in 2013 and 2015, and a song in 2016, before going dark for the last four years. Wikipedia calls their early music “krautrock” and that’s certainly still evident here, with a flat vocal delivery over a pulsing electronic backdrop.

Slow Pulp – Track. Slow Pulp’s music is indeed slow, and atmospheric, although here they sound more like Slow Smashing Pumpkins (the intro is a lot like the chord pattern from “Today”) – with lyrics about the lead singer’s mother’s anxiety over getting Alzheimer’s disease, which runs in their family.

Artificial Pleasure – The Movement of Sound. Artificial Pleasure released their second album, A New Joy, on Friday, so I haven’t had a chance to crack it yet – we’re seeing a flood of new material this fall, which is great except that I’m never in the car to listen to music at long stretches like I used to do – but it includes this banging track as well as last year’s “Boys Grow Up,” this year’s “Lose Myself Again,” and both parts of “Into the Unknown” as a single song.

Hot Chip ft. Jarvis Cocker – Straight to the Morning. I think I take Hot Chip for granted, because their singles are consistently good, just rarely great on the level of “Over and Over” or “Huarache Lights.” This track includes former Pulp lead singer Jarvis Cocker, although he’s barely noticeable, and the melody is strong enough that the song doesn’t need any help.

Deep Sea Diver – Hurricane. Deep Sea Diver grew out of a solo project of that name by Jennifer Dobson, now the lead singer/guitarist/songwriter of a full four-piece band. Sharon Van Etten makes a cameo on the band’s new album, Impossible Weight, which gives you some idea of their sound, although Dobson’s vocals are far superior and give this song a hint of pop.

The Struts ft. Joe Elliott and Phil Collen – I Hate How Much I Want You. It is entirely appropriate for a band as bombastic as the Struts to call in two members of hair metal icons Def Leppard for a song this ridiculous. I love it.

Dinosaur Pile-Up – It’s Tricky. Another snotty rock band covers another seminal early hip-hop track. This shouldn’t work, but it does.

Are We Static – Wildfire. This new track from AWS starts out a little like that annoying 2014 song “Geronimo” by Sheppard, but instead of turning into a poppy sing-along it converts that nervous energy into a swirling guitar-driven chorus, a quantum improvement in my mind.

Black Honey – I Like the Way You Die. I love Black Honey but this title is on the bleak side for a band this poppy.

All Them Witches – Lights Out. ATW’s Nothing as the Ideal has some incredible psychedelic sludge rock riffs across its eight songs, highlighted by this one and “Enemy of my Enemy,” although the six-minute-plus tracks go too long for their content.

Rob Zombie – The Triumph of King Freak (A Crypt of Preservation and Superstition). I did not foresee Rob Zombie dropping one of the best hard-rock tracks of 2020, I have to admit, but this is peak RZ content, even hinting back at the last White Zombie album Astro-Creep: 2000 with samples and electronic elements.

Pallbearer – Vengeance & Ruination. The kings of American doom metal – or just modern doom metal, period – just released their 4th album, Forgotten Days, and I think it’s their most accessible work to date, although it still has some longer tracks to satisfy diehards (and perhaps scare off folks looking for more radio-friendly lengths).

Killer Be Killed – Dream Gone Bad. Mastodon vocalist Troy Sanders is involved in two side projects that released new tracks this month; this is the better of the two, as the latest Gone is Gone track didn’t do much for me. KBK includes Max Cavalera of Soulfly and formerly of Sepultura, but the sound is closer to Mastodon’s here, very bass-forward with thrash elements but mostly clean (and strong) vocals.

Dark Tranquility – Identical to None. DT’s newest album Moment will drop on November 20th; it seems like more classic Gothenburg melodic death metal, with some great thrash riffing below the growled vocals. I haven’t spent a ton of time on this but I think Gothenburg bands have a distinctive melodic sound that works more at the middle and higher ends of the guitar’s range in each song’s standout riffs, whereas comparable bands from other scenes just try to blow you away with speed or riffs at the bottom end of the range.

Carcass – Slaughtered in Soho. And this is the one exception to everything I just said – but Carcass is sort of an exception to a lot of generalizations about extreme metal, coming out of grindcore to create a ridiculous subgenre termed “goregrind” (which didn’t need its own name), only to abandon both the style and the lyrical content with Heartwork, among the greatest extreme metal albums in history and proof that you could craft compelling melodies without sacrificing speed, growled vocals, or other trappings of the death-metal genre. This track comes off their four-song EP Despicable, which just came out on Friday, with tracks that missed the cut for their next album. The riff on this one is great, and remarkably slow and grooved for Carcass.

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→ September 2, 2020
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Music update, August 2020.

August rallied late to produce enough good new tracks that I ended up cutting a few from the final playlist. There were also some fairly high-profile and/or well-reviewed albums, including the Killers’ Imploding the Mirage, Samia’s The Baby, Bully’s SUGAREGG, Young Jesus’ experimental jazz/rock Welcome to Conceptual Beach, Angel Olsen’s Whole New Mess, Bright Eyes’ oh I don’t care what it’s called. I liked the Killers album, and sort of like the Young Jesus album even if I don’t fully appreciate what they’re doing, and could do without the others. Anyway, here’s my playlist for August; you can access it here if you can’t see the Spotify widget below.

Anderson .Paak – Lockdown. Therehave beenway too many songs about the lockdown, and most of them suck. This one doesn’t.

clipping. – Say the Name. That’s Daveed Diggs of Hamilton and Blindspotting, along with a pair of producers, and I’m a bit ashamed to admit that I didn’t know of this trio’s existence until a few months ago. Diggs is a clever wordsmith whose laconic style calls back to Guru and Kool G Rap. clipping.’s fourth full-length album, Visions of Bodies Being Burned, which takes its title from the sample that opens this song, is due out on October 23rd.

Lupin – May. Lupin is Jake Luppen of the inoffensive alternative band Hippo Campus, but apparently he’s been hiding his inner Neon Indian, at least based on this single from his forthcoming debut solo album, which has an incredibly funky drum machine loop and a bass line to match. No word on whether he’ll hold any concerts during a full moon.

The Naked & Famous – Monument. TNAF’s new album Recover dropped on August 8th and it’s their best and most complete LP yet, with several standout tracks including this one (which showcases Alisa Xayalith’s vocals particularly well), “Death,” “Recover,” “Easy,” and “Sunseeker.”

Space Above featuring Alisa Xayalith – Stolen Days. Xayalith also lends her vocals to her former bandmate Aaron Short, who records as Space Above and just put out a new 7-song EP Glow the same day TNAF released their own record. Maddie North, who records as So Below and has recorded with Space Above, even put out a new single, “Fear,” that same week.

Arlo Parks – Hurt. Parks just turned 20 last month but she’s the most interesting, dynamic new voice I’ve heard all year. This new single combines distinct soul and funk elements with her hypnotic vocals, the gentle nature of which belies the depth of emotion beneath them.

Killers – Dying Breed. Brandon Flowers and company returned with Imploding the Mirage, which took me by surprise as someone who was never a huge fan of their work. The record doesn’t take any huge risks, but also has quite a few strong pop melodies and immaculate production, led by this, the fourth single off the record, as well as “Caution” (with a guitar solo from Lindsey Buckingham!) and “Blowback.”

Doves – Cathedrals of the Mind. A new Doves song is pretty much an automatic inclusion on my playlists, but this isn’t quite what I was hoping to hear from the trio for a single from their comeback album The Universal Want, due out on September 20th, lacking the immediacy or the strong melodies that marked their peak output.

London Grammar – Baby It’s You. I was reasonably sure I’d listed another London Grammar song on a past playlist, but I seem to have made that up. They’re quite popular in the UK, with a #1 album in 2017’s Truth is a Beautiful Thing; I’m surprised how often commercial or critical success in other Anglophone countries can fail to translate into any notice here in the U.S. We can be xenophobic in music, too.

Lucius – Man in My Radio. This Brooklyn indie quartet can be strange, and pretentious, but Lucius seems good for one absolute banger a year, and this one-off single definitely qualifies.

BLOXX – Coming Up Short. This Uxbridge quartet have toured with the Wombats and just released their debut album Lie Out Loud, featuring this very hooky indie-pop track.

Yard Act – Fixer Upper. These guys are post-punk in the Gang of Four/Wire sense, and take it a step further with spoken-word lyrics about suburban real estate. I swear it’s not deliberate that this month’s playlist skews so heavily towards the UK.

Fontaines D.C. – I Was Not Born. These heralded Irish punks made my top 100 of last year with “Too Real,” but their singles prior to this one had missed that song’s hook, lacking something to counter the abrasiveness of their music. They’ve found the balance again here with a more melodic guitar line without sacrificing any of their signature sneering.

Ihsahn & Einar Solberg – Manhattan Skyline. So, this is the lead singer/guitarist of the infamous black metal band Emperor, perhaps better known for their support of arsons of old churches in Norway in the 1990s and their drummer’s conviction for murdering a gay man who he thought made a pass at him than for their actual music; and the lead singer and keyboardist for Norwegian prog metal band Leprous. And they’re covering a minor single from a-ha’s second album.

Gojira – Another World. This French heavy metal outfit’s 2016 release Magma was named the best metal album of the decade in a poll of musicians by MetalSucks.net and even earned two Grammy nominations. They’re often called “death metal” but they don’t have that genre’s blast beats, and the vocals here are more shouted than growled or screamed, although if you think this is a distinction without a difference I won’t press the point. Anyway, the guitar riff here is outstanding, rivaling the riff that opens “Stranded” from Magma.

Carcass – The Living Dead at the Manchester Morgue. The greatest death-metal band in history will release an EP of new material, Despicable, on October 30th, featuring this brutal six-minute track that goes through what feels like a half-dozen different movements, some of which I could do without but others feature some of the incredible guitar work that has made me a fan of theirs since Heartwork.

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→ August 9, 2020
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Music update, July 2020.

It seems like new music releases might be slowing down now, perhaps a lagged effect of the pandemic, although I still see a half-dozen or more albums coming out in the rest of 2020 that I’m excited to hear. As always, you can listen to the playlist here if you can’t see the Spotify widget below.

The Beths – Dying to Believe. The praise for the Beths’ new album Jump Rope Gazers is a bit ahead of my opinion of the album, which I liked, but wouldn’t say I loved it; they’re so much better when they use their energy and go uptempo.

Doves – Prisoners. That’s two strong tracks of the three singles they’ve released so far off their comeback album, The Universal Want, due out on September 20th.

Space Above featuring Boyboy – Movements. Aaron Short, who records as Space Above, may sound more like early The Naked and Famous, the band Short left, than TNAF does today – and I’m here for it.

The Naked and Famous – Everybody Knows. And here’s the remaining duo, with one of their most melodic songs since their debut album in 2010. Their latest album Recover, features this, last year’s “Sunseeker,” “Death,” and “Bury Us.”

Everything Everything – Violent Sun. This latest single from these British avant-garde rockers definitely grew on me over multiple listens, further reason to be eager for their fifth album, Re-Animator, which drops on September 11th.

Nation of Language – The Wall & I. Nation of Language’s latest album Introduction, Presence came out on May 24th, and closes out with this track, which feels heavily influenced by peak New Order.

Jorja Smith – By Any Means. This was the singer/songwriter’s first single on her own since last year’s hit “Be Honest,” and I hope it signals her sophomore album will come soon.

Black Honey – Beaches. More indie-pop goodness from one of my favorite bands of 2018.

San Cisco – Messages. Scarlett Stevens takes on lead vocals on this very sunny pop track, although I think her lack of vocal depth shows here when she doesn’t have Jordi Davieson to share singing duties.

PAINT – Strange World. This really sounds like a lost Badly Drawn Boy track from 2000. PAINT is Pedrum Siadatian, formerly of the Allah-Las; this is the best track from his first album under the name, Spiritual Vegas.

Inhaler – Fade Into You. It’s tough to cover a song like Mazzy Star’s “Fade Into You,” but Inhaler, led by Elijah Hewson (son of Bono), does a very credible job here.

Hinds – Spanish Bombs. A bit of a different sound for the Spanish quartet, maybe a little more polished than their previous output, although that’s kind of a low bar.

Glass Animals – It’s All So Incredibly Loud. This song is wonderfully weird, and has Glass Animals’ trademark use of unusual percussion sounds, and the more I listen to it the more I like it. The synth lines here are relentless.

Serpiko – Sleep State. Nobody seems to know who Serpiko is, but his debut EP, also called Sleep State, has garnered some positive press for its unusual blend of electronic, funk, and jazz elements. This title track is by far the best on the record, meandering in a purposeful way thanks to a persistent percussion line.

The Go-Go’s – Club Zero. Showtime has a new documentary out on the pioneering all-girl pop/rock group, and the quintet recorded this new track to go along with it … and it’s great. Other than Belinda Carlisle’s vocals, you might guess this was something from their peak years.

Ihsahn – Spectre at the Feast. Ihsahn is one of the founding members of the Norwegian black metal band Emperor, probably as well remembered for their involvement in church burnings and for their drummer’s conviction of the murder of a man who solicited him for sex than for their four albums, the last of which came out in 2001. That’s a long way of saying that this track is nothing like Emperor’s music – it’s progressive rock, not really even metal, with clean vocals and some intriguing guitar work.

Pallbearer – Forgotten Days. The champions of American doom metal are back with this title track from their new album, due out October 23rd. This track was labeled (Edit) so I presume a longer version will appear on the full-length LP.

Ensiferum – The Defence of the Sampo. I really enjoy Ensiferum when they stick to the thrash elements more common in Viking metal and go light on the death growls; it’s like listening to strange Norse metal drinking songs.

Mastodon – Fallen Torches. This is on the heavier side for Mastodon, a previously unreleased track that will appear on the band’s forthcoming B-sides and miscellany collection Medium Rarities, which will also include the band’s cover of Metallica’s “Orion.”

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→ July 5, 2020
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Top albums of 2020 so far.

This year has sucked across multiple dimensions, but new music has been one of the few bright spots of the first half of 2020 – although I worry that there’s a time lag here, and we’re getting great singles and albums recorded before the world ended. Anyway, here are the best albums I have heard so far this year.

7. SAULT – Untitled (Black Is). SAULT released one of the best albums of 2019 but did so after my 2019 rankings came out – in fact, they released two albums (7 and 5) last year, and both were great, but I didn’t hear either until May of this year. The identities of the band members are still unknown, but they’ve gained some critical attention nonetheless for their soul/funk/spoken word sound, and with Untitled (Black Is) they’ve become overtly political with a series of anthems supporting Black Lives Matter and other causes of equality and justice. Standout tracks include “Bow,” featuring Michael Kiwanuka; “Monsters;” “Why We Cry Why We Die;” and “Black.”

6. Tame Impala – The Slow Rush. I’ve always been a few degrees short of the critical acclaim for Kevin Parker’s music; I’ve liked many of his tracks but he often needs an editor to rein him in, and his albums haven’t come together as well as they should. The Slow Rush still has too many tracks that go on too long – half of the twelve songs here run five minutes or more, up to 7:13 for the closer – but it’s the most coherent record he’s released to date. Standout singles include “Borderline,” “Lost in Yesterday,” and “Breathe Deeper.”

5. Bananagun – The True Story of Bananagun. I only heard about this Melbourne psychedelic rock/funk group a few weeks ago, but I’m all about this album and their strange mélange of late ’60s flower-child rock and funk guitar work from the decade afterwards. Standout tracks include “The Master,” “Freak Machine,” and “Bang Go the Bongos.”

4. Waxahatchee – Saint Cloud. Folk-rocker Katie Crutchfield bares her soul, recounting her struggles with alcoholism and decision to get sober after her previous album, the uneven Out in the Storm (which still gave us “Never Been Wrong”), and the result is her best and most complete album to date. Standout tracks include “Lilacs,” “Can’t Do Much,” and “Hell.”

3. Grimes – Miss Anthropocene. A good example of when to separate the art from the artist. Grimes’ last album, Art Angels, was my #1 album of 2015; this record is more experimental and expansive, but still has several tracks that stand well on their own thanks to strong melodies, including “Violence,” “4ÆM,” and “Delete Forever.”

2. Khruangbin – Mordechai. I was late to the Khruangbin party, only hearing their last album, Con Todo El Mundo, a year after it came out, helped by The RFK Tapes’ podcast’s use of “Maria También” as its theme song. I think I got here just in time, though, as Mordechai is going to be their big breakout, as it has the same kind of Thai jazz/funk/rock hybrid sound as their last album, but now with extensive vocals from all three members. Standout tracks include “Pelota,” “Time (You and I),” the funky “So We Won’t Forget,” and “Connaissais de Face.”

1. Moses Boyd – Dark Matter. I don’t have any comparison for this album by percussionist Moses Boyd, one half of Binker and Moses. It’s a dark, swirling journey of modern jazz and house that has the energy of improvisational music but the tighter focus and melodic sensibility of more mainstream genres. Standout tracks include the stellar “Shades of You” (feat. Poppy Ajudha), shimmering opener “Stranger than Fiction,” and the guitar-laden “Y.O.Y.O.”

Upcoming albums I’m at least excited to hear: The Beths – Jump Rope Gazers (7/10); Dirty Streets – Rough and Tumble (7/31); Everything Everything’s RE-ANIMATOR (8/21); Cut Copy – Freeze, Melt (8/21); Sad13 – Haunted Painting (9/25); Doves – untitled (TBD); Noname – untitled (TBD).

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→ July 2, 2020
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Music update, June 2020.

June started out very slow for new music but finished with a bang, enough that I ended up culling some songs before posting this playlist, which runs the gamut of genres and features a couple of tracks from some of the best albums of the year so far. As always, if you can’t see the widget below you can access the playlist here.

Khruangbin – Pelota. The Thai funk/jazz/rock trio’s third album, Mordechai, is among the year’s best new records, and it’s their first with significant vocals, which should allow them to make real inroads on the commercial side. I’ll do a list of my favorite albums of the first half of 2020 shortly, but Mordechai is on it.

Doves – Carousels. Doves have reunited and released their first new music since 2009’s Kingdom of Rust. The time off has done them some good, as this sounds like peak Doves around the time of The Last Broadcast.

Bananagun – The Master. This weird Australian funk/alternative group sound a bit like someone smashed together folk rock sensibilities with late ’70s funk-rock or early ’80s new wave on their debut album The True Story of Bananagun. It’s very strange, but it works quite well even at different speeds.

Sad13 – Sooo Bad. Sadie Dupuis of Speedy Ortiz is set to release her second solo album as Sad13, with three new singles in the last few weeks, headlined by this track. All three songs are poppier than Speedy Ortiz’s music, but still have her offbeat lyrics and signature use of unexpected transitions.

Frank Turner – Bob. Turner and NOFX recorded covers of five of the other’s songs; I’m not a NOFX guy (although their desire to offend is admirable in a quirky way), but this reworking of a snotty track from their debut album into an acoustic ballad that sounds like Turner could have written it himself is impressive.

The Lazy Eyes – Tangerine. This Sydney quartet just released their first EP, cleverly titled EP1, showcasing a psychedelic rock sound that appears to owe a small debt to their countrymate Tame Impala.

Glass Animals – Heat Waves. I tend to like Glass Animals more when they’re a bit restrained, which they are here, as opposed to songs where it feels like they’re trying to be strange or eccentric.

Arlo Parks – Black Dog. Not a Led Zeppelin cover, as it turns out, although Parks did record an acoustic cover of Radiohead’s “Creep” as the B-side to this love song to a partner (or friend?) suffering from the black dog of depression.

Shamir – On My Own. If you know Shamir, it might be from his 2014 song “On the Regular,” which featured him rapping at a pitch that convinced a lot of people – me included – that the vocalist was a woman. He’s honed his sound in the intervening years to create an expansive mash-up that spans indie rock to classic soul to house and beyond, but I’ve been waiting for years for him to write another great hook. This song has it, along with a mid-80s Prince vibe to the music.

Tricky – Fall Please. Adrian Thaws is still at it at age 52, and still capable of producing a banger like this one, which features vocals from Polish singer Marta Z?akowska. It’s just short (2:27) for a song with such a great groove.

Freddie Gibbs & the Alchemist – Look at Me. Gibbs is probably the best MC working today, and continues to challenge himself musically, although I have a hard time buying in fully given how he speaks about women in his lyrics.

Dirty Streets – Can’t Go Back. Bluesy hard rock from a fairly new Memphis trio whose music I first heard while watching Netflix’s Sex Education. This is one of three tracks from their upcoming fifth album Rough and Tumble.

Muzz – Knuckleduster. Muzz is Paul Banks of Interpol, Matt Barrick of the Walkmen, and producer Josh Kaufman; they released their self-titled debut album in early June. It’s a mixed bag, often too lugubrious, but generally lush and often harking back to early shoegaze with more pronounced vocals.

Coach Party – Bleach. A new indie rock quartet from the Isle of Wight, with this song reminding me a bit of their labelmates Wolf Alice (at least from the latter’s first album).

The Beths – Out of Sight. This New Zealand indie group made a small splash in 2018 with their album Future Me Hates Me, with “You Wouldn’t Like Me” appearing on my top 100 for that year; their second album, Jump Rope Gazers, drops on July 10th.

Everything Everything – Planets. E2 will release RE-ANIMATOR, their fifth album, on August 21st; given the first three singles it seems like it might be their weirdest record yet.

Hinds – Take Me Back. I was into this all-female quartet’s earlier work but sort of assumed they’d get more proficient as musicians over time, so the charm of their first two records has started to wear off a bit now that it’s clear that there isn’t another level coming.

Medium – Life After Death. This isn’t the ’90s Minneapolis band Medium, but a project from musician Cotter Phinney, a big Ariel Pink fan who also professes to be into classic metal solos, with the former more evident on this track.

Protomartyr – Michigan Hammers. If there was a moment in some alternate universe when post-punk started to morph into metal – instead of the two strains descending from different ancestors – the result would have probably sounded a lot like Protomartyr.

Mekong Delta – Mental Entropy. I had no idea Mekong Delta, a minor band from the halcyon days of German thrash metal, even still existed, but they sound like they’re still recording in 1989 and I’m here for it.

Ensiferum – Andromeda. This Finnish folk/death metal act show off some great technical guitar work and strong melodic riffs, but the accessibility of their music varies from song to song – “Rum, Women, and Victory,” their previous single, was way more on the death metal side of things, while this has just a little of that and is more traditional metal, which is still my preference.

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→ April 2, 2019
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Music update, March 2019.

March was a big month for new albums, but I’d say just average for new singles. I had included a bunch of other tracks by groups like Hotel Lux and FEET and Sad Planets and Blood Cultures but decided to move the bar up a little bit and keep this playlist tighter. As always, if you can’t see the widget below you can access the Spotify playlist directly here.

Dinosaur Pile-Up – Thrash Metal Cassette. Dinosaur Pile-Up made has one appearance on my monthly playlists, landing at #28 on my top 100 songs of 2016 with “Nothing Personal,” a hard-rocker that reminded me of peak Nirvana. This song is catcher and much snottier, and I love it, even the screaming in the chorus, because it seems to perfectly capture a mood and a moment that I remember but I can’t believe these English lads – all a good bit younger than I am – actually do.

Crows – Wednesday’s Child. I’ve gotten halfway through Crows’ new album, Silver Tongues, and so far it’s really strong, best categorized as post-hardcore but with some wiggle room in that label. The title track is also strong.

Foals – In Degrees. Everything Not Saved Will Be Lost is shaping up to be my favorite Foals album ever

Talk Show – Fast and Loud. This is not the Stone Temple Pilots side project of the same name, but a new quartet from London’s Peckham district with members who seem too young to be producing music that would fit alongside early post-punk icons like Gang of Four (who appear below) and Wire.

Big Thief – UFOF. These folk-rockers were critical darlings in 2016 around the release of their debut album Masterpiece, but I found the songs off that album and its followup Capacity too tame and uninspiring. This title track from their forthcoming third album is my favorite song by the group so far.

Anteros – Let It Out. Anteros’ singles so far have mostly been power-pop gems, but this is a slow burn of a track with backing strings, a huge crescendo, and a showcase for singer Laura Hayden.

The Faint – Source of the Sun. I’ve heard a lot of songs over the last fifteen years from The Faint, but I’ve found their music more interesting than memorable; other than “Southern Belles in London Sing” I don’t think I would recognize any song you played for me from the band. They’ve also turned to a completely different sound with this new album, Egowork, or at least I never thought of them as this sort of indie-electronic outfit. The droning hook in the chorus puts this one over the line for me, and I appreciate the dark, almost gothic feel to the sparse backing music.

Two Door Cinema Club – Talk. 2DCC can be too poppy for me, but this is just the right amount of poppy.

Ten Fé – Coasting. Ten Fé’s second album in two years, Future Perfect, Present Tense, is full of more soft-rock gold, including this song, “Won’t Happen,” “Echo Park,” “Here Again,” “Not Tonight,” and the ballad “To Lie Here is Enough.”

Modest Mouse – Poison the Well. I have a very clear line when it comes to Modest Mouse songs – I like them or I can’t stand them. I like this one.

Honeyblood – Glimmer. I didn’t realize until I wrote up this post that Honeyblood is a solo project – it’s guitarist/singer Stina Tweeddale, who parted ways with her drummer Cat Myers in February and decided to continue on her own. The indie-rocker, who writes with a strong sense of melody, will release her third album under the Honeyblood name, In Plain Sight, in May.

Gang Of Four – Change The Locks. If you’d told me after 2011’s Content that Gang of Four would continue without singer Jon King, I would probably have said thanks, I’m good, but new singer John Sterry has filled in admirably and guitarist Andy Gill has managed to keep enough of the band’s signature song while also evolving so they don’t sound dated. None of this will make you forget Entertainment! but this is another very credible, catchy single from the band, this one ahead of their crowdfunded album Happy for Now.

King Gizzard & The Lizard Wizard – Boogieman Sam. If you’re one of those people who told me I was wrong to denigrate Greta Van Fleet as a Kingdom Come cover band, well, I was right, but also, here’s proof I don’t mind bands that quaffed deeply of the blues-rock icons of the 1960s and 1970s – but King Gizzard & the Lizard Wizard do so without sounding so derivative.

Freddie Gibbs with Madlib & Agent Sasco – Bandana. Gibbs is one of the best MCs I’ve heard in contemporary American rap, both for flow and lyrical content (warning, this ain’t for the kids), although some of his more adventurous projects since Pinata haven’t hit my ears the same way. “Bandana,” however, is scorching. Agent Sasco is the Jamaican DJ formerly known as Assassin. Yes, I had to look that up.

Jafaris – Stride. Ever heard an Irish rapper before? Jafaris is indeed from Dublin, a person of color from a country with a population that’s just 1% black, although I’d never guess his Irish roots from his flow. His debut album, also called Stride, just dropped last week.

Skryptor – Raga. Progressive, instrumental metal from three industry veterans, whose debut album Luminous Volumes has seven songs ranging in length from 58 seconds to over 9 minutes.

Diamond Head – Belly of the Beast. I had no idea these NWOBHM stalwarts had a new lead singer and released an album in 2016, but they did, and now they’re back with this lead single from what will be their eighth studio album in forty years, going back to 1980’s seminal Lightning to the Nations, which gave us “Am I Evil?” and “The Prince.”

Fury – Angels Over Berlin. This relatively new hardcore act from Orange County just put out this two-sided single, with this the B side but more accessible than the more grating A-side “Vacation.”

Amon Amarth – Raven’s Flight. Amon Amarth do very competent, safe – I know it’s odd to use that term in this context – melodic death metal with Viking lyrical themes. I tend to like just about all of their riffing, but would probably put them in the second tier, not up with groups like Tribulation, Children of Bodom, and At the Gates.

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→ December 4, 2018
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Music update, November 2018.

My last monthly playlist before I write up my annual top 100 list – some time after next week’s winter meetings – has twenty-two new tracks, including a handful of brand-new (to me) artists likely to appear on that year-end ranking, plus three metal acts who were big when I was still in high school. You can access the Spotify playlist here if you can’t see the widget below.

Jade Bird – Love Has All Been Done Before. This 21-year-old English singer-songwriter has a powerful voice in both meanings of the term, reminding me quite a bit of the similarly-named Jake Bugg. (If they collaborated, would they go by Bird & Bugg?) It’s folk-rock with a dash of Janis Joplin in her all-out singing style. I haven’t been able to stop listening to this song since I first heard it.

Sunflower Bean – Come For Me. This New York trio released second album, Twentytwo in Blue, in March, but they’re already back with a new EP due out in late January, headlined by this rocker that I think makes better use of singer Julia Cumming’s voice.

Piroshka – Everlastingly Yours. Lush broke up for good two years ago, but singer/guitarist Miki Berenyi is back with this supergroup of ’90s alternative figures, with members of Modern English, Moose, and Elastica along for the ride. This first single is wonderfully anachronistic, like we’re back in 1995 and Britpop is still a thing.

The Wombats – Oceans. The second bonus track on the deluxe edition of the Wombats’ album Beautiful People Will Ruin Your Life, along with “Bee-Sting,” is among the best tracks from the record; I was lukewarm on the album as a whole before these two new songs came out, but now there are at least a half-dozen great tracks to recommend from the LP.

Sundara Karma – One Last Night On This Earth. This English indie-pop band, which gets a lot of U2 comparisons (I don’t hear it myself), is set to release its sophomore album, Ulfilas’ Alphabet, in March, with this the lead single, boasting a strong melodic hook and their now-familiar, slightly rough around the edges sort of sound.

YONAKA – Creature. The title track from this British act’s latest EP is a little slower and sultrier than some of their harder and more obnoxious (in a good way) songs like “Wouldn’t Wanna Be Ya,” but the driving guitars, which are all over this four-track EP, still really work even shifted down a gear.

Darlingside – Singularity. Darlingside has been around for a few years but are new to me, at least, with their new album Extralife. There’s an Americana element here like we get from the Avett Brothers, the soft harmonies of Fleet Foxes, and a bit of the sampling of multiple genres from the first Mumford & Sons album.

Acid Dad – Living with a Creature. Psychedelic dance-rock that’s heavier on the guitars, boosted by the effects on the vocals that give the whole track a trippy vibe. Their self-titled debut album dropped in March.

Drenge – Bonfire of the City Boys. I keep hoping these singles are pointing towards a new album from the brothers Loveless, with this the third solid one this year, seeing Eoin speaking rather than singing over a droning, heavy bass line.

Preoccupations – Pontiac 87. Preoccupations are touring with Protomartyr, so they released a cover of Protomartyr’s 2015 track “Pontiac 87,” from the latter’s album The Agent Intellect, giving it more stuttering, frenetic percussion, and a spacier vocal line.

Radkey – Junes. Radkey seem to have hit a stride with their last few singles after their 2016 album lost a little momentum from their debut; these tracks have all been a little harder and more uptempo. I feel like they would have been huge in the late 1990s.

Bob Mould – What Do You Want Me To Do. Shouldn’t this be called “What Dü You Want Me to Dü?”

Anteros – Call Your Mother. I loved Anteros’ “Cherry Drop” from last year, but since then they’ve released just two singles, with this the catcher of the two but definitely downshifted from that favorite of mine from 2017.

Swervedriver – Drone Lover. If Pavement released a shoegaze track in 1993, this would be it.

Black Honey – Teenager. A great new track from the deluxe edition of their self-titled debut album, which now includes “Somebody Better,” my favorite of their pre-album singles that didn’t appear on the initial release, and “All My Pride” too.

Body Type – Palms. This is my favorite single so far from this Australian quartet (all women), with the quick pace and the interlaced vocals contributing to the sense of unease permeating the entire track.

Ten Fé – No Night Lasts Forever. I am running out of things to say about Ten Fé, who have figured out what sort of song they write well and then keep churning out catchy songs in that vein.

The Twilight Sad – VTr. The Scottish indie-rockers, who bear an undeniable similarity to other bands that revel in depression like Joy Division and Interpol, will drop their fifth album, It Won/t Be Like This All the Time, on January 19th.

Myrkur – Juniper. Danish chanteuse Amalie Bruun is back with her symphonic/folk/black metal project Myrkur, with this track focusing more on the former elements as well as her ethereal voice, with less of the pure metal elements that sometimes appear in her music.

Flotsam & Jetsam – Recover. The last three tracks on my playlist this month are all from thrash bands whose commercial peaks came in the 1980s and are still producing the same kind of music they did 30 years ago, with this F&J track my favorite of the three. Their 13th studio album, The End of Chaos, will drop in January, but it sounds like they haven’t lost a step or bowed at all to the commercial shift towards the genres that descended from thrash.

Metal Church – Out of Balance. There’s a great riff and generally strong guitarwork here, with really dopey lyrics that lead to an annoyingly catchy chorus.

Sodom – Partisan. Sodom is one of the ‘big four’ of German thrash, along with Kreator and Destruction, both of whom have appeared on my lists before, as well as Tankard. Only one original member of Sodom, bassist and lead screamer Thomas “Angelripper” Such, remains, but this track is still a throwback to the sort of early, heavier thrash that put Sodom at the vanguard of the genre and influenced the first wave of Nordic black metal bands as well. That said, this track itself isn’t that great, more of a curiosity from a band of historical importance whose sound hasn’t aged that well.

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→ November 5, 2018
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Madeline’s Madeline.

I’d never so much as heard of director Josephine Decker’s film Madeline’s Madeline (available on amazon & iTunes) until the Gotham Independent Film Project’s award nominations came out about two weeks ago. Honoring – you guessed it – the best in independent film of the year, the movie earned one of the five nominations for Best Feature Film (along with First Reformed and the upcoming If Beale Street Could Talk), while its star, Helena Howard, earned a nod for Breakthrough Star. It’s very much an indie film, nonlinear, highly metaphorical (the first line of the film tells you this), and often inscrutable, but Howard delivers one of the best performances by a teenaged actor I can remember seeing.

The movie is very, very weird, which is why it’s regularly called “experimental,” although in this case I’m not sure what’s experimental about it beyond just the nonlinear storytelling. Howard plays Madeline, a 16-year-old actress, who has recently found her calling with a local theatrical troupe (or interpretive dance troupe), and has a deeply troubled relationship with her mother Regina (Miranda July). Madeline suffers from some serious mental illness, may have injured her mother before, and has an eating disorder and self-mutilation habits. The troupe is led by Evangeline (Molly Parker), who at first appears just like a director/writer consumed with her art, but her actual role and motivations are not so clear. She sees in Madeline both an incredible talent and a rich story of mental illness; her drive to get Madeline to open up and provide the subject for their performance lead Evangeline into a toxic relationship with Madeline that threatens the girl’s fragile tie with her mother and the integrity of the troupe itself.

Howard gives a virtuoso performance for a tyro – this is her first screen credit, film or TV – as a complex, difficult character prone to massive mood swings and primal behavior (yelling, screaming, using her body beyond simple gestures). The film depends entirely on the ability of the actress in that role, and Howard is strong from the beginning, only to get better as the film progresses and the script asks more of her. There’s a climactic scene where she imitates her mother that feels like the “that’s the scene that won her the X Award” moment in the film, but even in smaller scenes she excels at pushing the borders of the screen with those sudden shifts in mien or tone.

The script itself leaves a hundred questions along the way, resolving nothing. Foremost among them is whether Madeline is actually acting or dissociating; her most intense performances with the troupe seem to come from somewhere deeper within herself than most people can readily access, and that climactic scene ends with everyone reacting while she briefly goes catatonic. Related to that question is how much of what she tells us about her relationship with her mother is real; we see a little bit of her home life, and Regina is certainly not winning Mother of the Year given her extreme neuroses and how she takes those out on her daughter, but is it all true? For one example that comes up at the start of the movie: did Madeline actually burn her mother with an iron – or herself? Madeline’s father is mentioned but never appears; he seems to have left the family, but is discussed as if he’s present, and the most we learn about him comes when Madeline and some friends go in her basement and explore her father’s stash of porn. Why he left, and if he had any role in creating Madeline’s maladies, are both left unanswered.

The theatrical troupe is also … well, not quite right, to the point that it appears that the troupe may really be a cult, led by Evangeline, who sees a perfect recruit in Madeline, only to see the ingenue later threaten her control of the entire enterprise. The rhythmic breathing and humming, the all-black outfits, the masks (really, are you dancers, or are you Slipknot?), the often affectless way they greet each other all speak to some kind of relationship beyond members of the same dance ensemble.

I’m assuming the choices of the three main characters’ names were deliberate here, as two of them in particular have strong biblical connotations that seem to apply to the story. Madeline is derived from the same way we get the name Mary Magdalene, whom Jesus is said to have driven out “seven devils” – likely a reference to mental illness – according to the Gospel of Luke. Evangeline means the bringer of a gospel or good news, ironic since Evangeline is nothing but bad news for Madeline and her family but is unable to see anything beyond her own needs.

The story itself ends up a muddle without any clear here to there – often it wasn’t apparent whether we’d jumped back in time – and there is no answer to anything posed here. The final sequence of the script is powerful visually, and I thought reinforced the idea that this might be a cult, but I can’t say I know where we went on that journey or what the screenwriter was trying to say. That said, if you can watch a film just to see one character’s tremendous performance – not to mention to see someone throw up a 2012 Bryce Harper sort of debut – Madeline’s Madeline is worth the time just for Howard’s performance. This, it turns out, is how a star is born.

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→ October 31, 2018
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Music update, October 2018.

Huge month for new tracks – thirty strong this time around, ranging from indie rock to dance to metal to two tracks that are somewhere in the country/folk range. As always, if you can’t see the playlist below you can access the Spotify playlist here.

Joy Williams – Canary. The former member of the Civil Wars has a new album, Front Porch, due out early next year, with this the A-side of a new single (with “The Trouble With Wanting” the B-side), featuring a strong melody and her always amazing voice.

HAERTS – Fighter. Now a duo, HAERTS released their long-awaited second album, New Compassion, on October 5th to very little fanfare or attention, but it’s almost as good as their debut – the sound is similar but it doesn’t quite have the standout tracks of their self-titled first album.

Hatchie – Adored. One of two songs on this playlist from Adult Swim’s series of singles is the latest from Aussie singer-songwriter Hatchie, who continues to occupy this ethereal space that recalls early Lush and the Cranberries.

Radkey – Rock & Roll Homeschool. I’ve been waiting for this trio to put out another rocker like this since 2013’s “Cat and Mouse.” More of this, please.

Drenge – Autonomy. The title track from this duo’s new four-song EP that also features the song “Outside,” which appeared on my September playlist. I assume there’s another album coming soon, since their last came out in 2015.

The Struts – Fire (Part 1). A guilty pleasure of mine, although I recently told a friend I thought the Struts were just the Discount Arctic Monkeys. This is the best song on their latest album, which tends too much to the bombastic side of alternative pop for me.

Khruangbin – Maria También. If this sounds familiar, it’s the opening music to the Crimetown podcast series. Khruangbin avoid labels for their music but it’s definitely some sort of indie rock/funk with influences from various world music genres.

Port Noir – Old Fashioned. I don’t know what to make of this song, which veers a little close to rap-metal for me, but the chorus is tremendous and I love the dark tone of the music throughout the track.

Speedy Ortiz – DTMFA. The other Adult Swim single on this list is probably 95% of typical Speedy Ortiz but that’s still good enough for me.

Django Django – Sand Dunes. Django Django put out an album, Marble Skies, back in January, but they’ve since released a six-track EP of songs recorded before (or maybe during?) those sessions, including this mid-tempo track that really would have fit quite well on the longer album.

Ian Brown – First World Problems. New single from the Stone Roses’ lead singer, not his best but definitely featuring his typically snarky lyrics.

Ten Fé – Won’t Happen. The lead single from the soft-rock band’s upcoming sophomore album, Future Perfect, Present Tense (due out in March), is more of the same as their first album provided – and that’s good.

Swervedriver – Mary Winter. Swervedriver returned in 2015 with their first album in 17 years – the same hiatus that Ride and Slowdive took, in fact – but it was unremarkable without any strong hooks or remotely memorable songs. This new single has that certain something, and I think it’s their best song since the title track from their last pre-breakup album 99th Dream.

The London Suede – As One. I didn’t love The Blue Hour, their latest album, because it was overrun with dirge-like tracks, but this wildly dramatic song is one of the few standouts for me.

Maisie Peters – Details. I have no idea why this 18-year-old British singer/songwriter hasn’t become a global star. Her voice is adorable, her lyrics clever, her melodies catchy.

Keuning – Restless Legs. That’s Dave Keuning, founding guitarist of the Killers, with his first solo track. He’s announced his first solo album, Prismism, will come out next year.

Arkells – Hand Me Downs. Arkells, like the Struts, are a bit too pop-oriented for me overall but occasionally hit enough of a melodic high point for me to overlook the commercial production. “Relentless” is the best track on the new album; this would be my second-favorite.

The Beths – You Wouldn’t Like Me. New Zealand quartet The Beths dropped their first full-length album, Future Me Hates Me, in August, featuring this very ’90s punk-inflected power pop single.

Christine and the Queens – 5 dollars. The French singer/songwriter Héloïse Letissier has received universal praise for her latest album, Chris, which is certainly one of the smartest and most inventive pop records of the year. If there’s a US hit single to be had here, this is it.

White Lies – Believe It. Much better than anything off White Lies’ last album, comparable to my favorite track from them, 2013’s “There Goes Our Love Again.”

Hinds – British Mind. I’ll include anything this Spanish quartet releases, obviously. I don’t think any band sounds like they’re having as much fun as these four women do.

Allie X – Little Things. Allie X had posted an older song called “Sculpture,” which was on this playlist earlier in the month but has since disappeared from Spotify and isn’t on the EP she just released last week, Super Sunset. That does include this track; “Science,” one of my favorite songs from the summer, and the solid “Girl of the Year,” which I just find a little hard to listen to because of the chorus.

Longwave – Stay With Me. I was totally unfamiliar with Longwave, who put out four albums between 1999 and 2008, until hearing this song, which appears to be their first new single since they reunited, but this song has a great ’80s new wave vibe at its core, like the best work of White Lies.

TVAM – Porsche Majeure. TVAM’s album Psychic Data is probably going to end up on my top albums of the year list, featuring multiple strong mostly-instrumental tracks like this one, with Joe Oxley creating swirling electronic hooks that evoke all manner of emotions – this track feels especially menacing to me.

Greta Van Fleet – Lover, Leaver. Everyone compares Greta Van Fleet to Led Zeppelin, but I think the better comp is Kingdom Come – it’s derivative rather than paying homage, still occasionally catchy or interesting enough to merit further listens (as on this song or “When the Curtain Falls”), but on the whole it’s nothing we haven’t heard a hundred times before.

Cloud Nothings – Another Way Of Life. I’d grown a bit tired of Cloud Nothings’ sound, which never seemed to evolve, but this closer to the band’s short new album (35 minutes, with one track accounting for almost a third of that) seems to point to at least some small change in their style.

Toundra – Cobra. Instrumental, progressive metal from Madrid, musically similar to early Opeth but without vocals.

Haken – Puzzle Box. I’ve known of Haken for years but never put them on a playlist before this track, which I think gives us the prog metal band’s strongest melody to date.

High On Fire – Spewn From The Earth. You kind of know what to expect from High on Fire at this point, I think.

Behemoth – Bartzabel. I’ve always thought of Behemoth as a bit of a joke – the music was fine, but they so thoroughly covered themselves in the juvenile trappings of black metal that they verged on self-parody … but I have to admit this song is quite good if you can get past the death growls.

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→ November 17, 2015
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Art Angels.

My column on my NL Rookie of the Year ballot is up for Insiders.

Grimes’ Art Angels (buy on amazon or iTunes) is the best album of 2015, and the best album I’ve heard since alt-J’s 2012 debut An Awesome Wave. Canadian singer/songwriter/multi-instrumentalist Claire Boucher, who records under the pseudonym Grimes, has created a masterful indie-pop performance that transcends genres and incorporates wildly diverse sounds into a cohesive, intelligent offering that never lets up from the ninety-second opener to the final song’s declaration of independence.

Grimes’ third album, 2012’s Visions, brought her substantial critical acclaim, notably for the singles “Genesis” and “Oblivion,” which received plenty of airplay on alternative radio and led to multiple recommendations from many of you, but I couldn’t get past the juvenile sound of her high-register vocals and the electropop leanings of the music. Grimes has ditched GarageBand, which she used to record much of that last album, for more sophisticated digital audio workstation software, and it is reflected in the worldliness of the music itself. The maturation process from there to Art Angels was, by all accounts, arduous, including an entire album that Grimes scrapped, the one-off single “Go” (rejected by Rihanna’s people, because I guess her people are idiots), and the song “REALiTi,” which survived the trashing of the lost album and reappears here in a more polished form. This is the Grimes album with vision, delivering rather than promising, with marked increases in the sophistication of her music and her lyrics.

After that brief intro track, Grimes delivers the first of many surprises on the album with “California,” a sunny track that gives off the illusion of an acoustic or folk-rock song, but is largely electronic and hides a dark, cynical take on the record industry through a metonymical use of the state to represent the entertainment industry. (Grimes has spoken publicly before about how the mainstream record industry does not, in her view, treat indie artists well.) From that luminous track we downshift into the album’s darkest song, “Scream,” with all lyrics courtesy of the female Taiwanese rapper Aristophanes, who raps entirely in Mandarin with a menacing, breathy delivery that matches the funereal music beneath her. If you’ve survived this hairpin turn, you’ve gotten the hang of Art Angels, which refuses to choose a single direction yet manages to squeeze a panoply of styles into a single tent.

Lead single “Flesh Without Blood” is the most traditional song on the record in both its structure and the melodic nature of the vocals, but would still jar listeners to straight pop stations if it came on after the latest four minutes’ hate from OneRepublic. “Kill v. Maim” and “Venus Fly” both show Grimes asserting her individuality and particular brand of feminism, with the former seeing her voice as high as it gets on the album, which is fine with me as I think she starts to sound very young at the top end of her range, although here it also seems like an allusion to J-pop traditions and is interspersed with the occasional death-metal scream. “Venus Fly” features vocals from Janelle Monáe, who will appear on your album if you just remember to include a self-addressed stamped envelope, in an articulate rant about how women in music are judged on their appearances, with a number of lines that sound like they should end in “boy” if you’ve been reared on vapid, modern pop music.

The title track is a real sleeper, the kind of song Daft Punk tried and failed to craft on their Grammy-winning album Random Access Memories, between the funk-guitar riff and the layered synthesized drum lines, with lyrics that express her love for her adopted home city of Montréal. I might be alone in preferring the raw demo version of “REALiTi” we got back in the spring, where her vocals were more seductive even when she veered on the edge of falsetto; although the current version maintains the basic hook of the original, her vocals are honed to a finer point, excising the demo’s dreamlike quality.

Grimes’ lyrics have improved enormously over the last three years, with greater use of metaphor and new phrasings, with very few lines that clunk enough to detract from the songs as a whole. (“California” does have a line about how certain music “sounds just like my soul;” I’m not sure I’ve ever heard a song lyric using the word “soul” in a secular or metaphorical sense that didn’t sound like something from a teenager’s poetry notebook.) She’s covering a ton of thematic ground here, but they’re all tied together under the banner of the experiences of a woman in a male-dominated industry that is rife with sexism, harassment, and superficial judgments. When the slightly saccharine closer, “Butterfly,” concludes with Grimes’ assertion that she’ll “never be your dream girl,” it’s clear she’s both refusing to bend herself to be what someone else wants and saying that the song’s target isn’t worthy of her time. It’s a compulsive listen without a dud to be found, with so many changes in musical direction that she grabs your attention from the start and holds it, rapt, until she tells you to kiss off in the closing track. It’s an album that demands repeated listening.

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