→ October 2, 2019
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Music update, September 2019.

I’m still catching up on some albums from the last month, although I did listen to the Vivian Girls’ latest (nothing new to include) and still need to finish listening to Chelsea Wolfe’s challenging Birth of Violence. As always, if you can’t see the widget below you can access the Spotify playlist here.

Temples – Holy Horses. The best track on their very good new album Hot Motion features what might be my favorite guitar riff of the year. The album features a lot of throwback psychedelic rock but manages to still sound fresh, with this, the title track, “Context,” “You’re Either On Something,” and “Step Down” the strongest songs on the record.

Oh Wonder – Hallelujah. Earworm of the month, and one of the catchiest songs this duo has ever done, whether you like it or not.

Supergrass – Next to You. These ’90s Britpop stalwarts are back after a nine-year breakup with a greatest-hits record that includes this cover of the first track on Outlandos d’Amour, the first album by the Police.

The New Pornographers – Colossus Of Rhodes. I feel like I underappreciate the New Pornographers because they’re so consistent. This new album doesn’t quite have the highs of Brill Bruisers or the critical acclaim of Twin Cinema but still has several solid singles.

TVAM – No Silver Bird. This two-minute track was originally released for Record Store Day and just appeared online last month. It’s a cover of this track by a band of which I’d never heard until TVAM covered it.

Foals – The Runner. I’m very much here for Foals’ big guitar-laden lead singles from upcoming albums. Everything Not Saved Will Be Lost Part 2, their second LP this year, drops on October 18th.

Lower Dens – Hand of God. This Baltimore-based band released its fourth album The Competition on September 6th; it’s somewhere between a meditation and a polemic on late-stage capitalism, led by the 2016 single “The Real Thing.” “Hand of God” has that new wave-y vibe for which I shall always remain a complete sucker.

Bombay Bicycle Club – Eat, Sleep, Wake (Nothing But You). They may never come close to 2011’s “Shuffle,” which will certainly appear on my top songs of this decade list (planning that for December), but this lead single from their upcoming LP Everything Else Has Gone Wrong, due out in January, is my favorite track of theirs since their big hit.

She Drew The Gun – Trouble Every Day. I assume this third single from the political post-punk Wirral group just this year presages an upcoming album

Night Dreamer – Another Life. Night Dreamer comprises the Smashing Pumpkins’ guitarist Jeff Schroeder and keyboardist/singer Mindy Song of Wam Dingis, with a clear late-90s indie-rock sound beneath lyrics that at least try to get philosophical, although I don’t know if they quite hit the intended target.

Bat For Lashes – Desert Man. Natasha Khan’s fifth album, Lost Girls, is more accessible than 2016’s The Bride, although like most of her work I’ve found it improves on multiple listens.

FKA Twigs featuring Future – holy terrain. It’s been five years since FKA Twigs’ debut album, with just two original songs in the interim, but this collaboration with Future marks the second single in advance of the October 25th release of MAGDALENE.

Corinne Bailey Rae – Jersey Girl. Another cover, this one of a Tom Waits song that was also covered previously by Bruce Springsteen. CBR’s voice is still mesmerizing and beautiful 13 years after “Put Your Records On.”

Grimes featuring i_o – Violence. Grimes’ Art Angels was my #1 album of 2015, but her last single “We Appreciate Power” felt like a huge regression; this new track, possibly from her upcoming album Miss_Anthr0pocene, starts slow with Boucher overusing that childlike vocal from “Oblivion” but rallies quickly with a hypnotic beat from i_o. The video is interesting but feels like it’s a chapter of a longer book.

Danny Brown – Best Life. Here because it’s produced by Q-Tip, although I don’t get the sense The Abstract appears on the record itself.

That Dog – If You Just Didn’t Do It. That Dog had a moment in 1997 with “Never Say Never,” not to be confused with the bigger Romeo Void hit of the same name; I don’t remember this band at all from their first iteration, but they’ve been back together for a few years now, and will release their first album in 22 years, Old LP, on Friday.

The Mysterines – Bet Your Pretty Face. I included “Gasoline” on a playlist this summer; both tracks come from the Wirral punk-rock trio’s four-song EP Take Control, released in August – and yes, that’s two bands on this list from Wirral, which was not intentional.

Just Mustard – Seven. Full-on throwback shoegaze from this Irish quintet who would could have opened for Ride in 1992 with this sound.

Alcest – Sapphire. I prefer this to Alcest’s previous single, “Protection,” as it’s closer to the shoegaze/extreme metal blend they showcased on 2016’s Kodama, without the black metal trappings of their early work.

Syberia – Empire of Oppression. These Spanish prog-metal instrumentalists are new to me, but they’re about to release their second album, Seeds of Change, on October 4th. There’s a lot packed into this six-minute track, with tonal and temporal shifts that alternate intense bursts of swirling guitars with moments of relative quiet, ramping up the pace for a big finish.

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→ September 3, 2019
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Music update, August 2019.

Some of it might be the presence of five Fridays in the month, but August was exceptionally strong for new music – I had over 30 tracks on the first draft of this list and ended up with 25 songs on a playlist that runs over 90 minutes. As always, if you can’t see the widget below, you can access the playlist directly here.

Ceremony – Further I Was. The punk-turned-new wave band’s latest album, In the Spirit World Now, dropped this month and is one of my top ten albums of the year, with this, the title track, and “Presaging the End” among the standout tracks.

The New Pornographers – The Surprise Knock. Two good new songs from TNP, with this and “Falling Down the Stairs of Your Smile,” ahead of their upcoming album In the Morse Code of Brake Lights, due out September 27th.

Ride – Jump Jet. The shoegaze pioneers’ second album in three years, This is Not a Safe Place, also came out last month, with this, “Future Love,” and “Repetition my favorite tracks from a solid if somewhat inconsistent record

Good Fuck – Flow Flow. If the goal was to create a band name that was both ungoogleable and something you couldn’t say on the radio, well, this is it … but damn is this song, a rec from reader and musician Andrew M., catchy as hell, between the guitar riff and the pulsing beat.

Vivian Girls – Something to Do. I never got into the Vivs or even heard much of their music before their breakup, but I’m enjoying their reunion so far, with loud and fast guitar tracks like this.

Artificial Pleasure/JYLDA – Boys Grow Up. An homage to classic New Wave with a strong dash of Britpop, here boosted by backup vocals by JYLDA. They’re quickly becoming one of my favorite bands.

Dry Cleaning – Magic of Meghan. I can’t decide if this band name is ridiculous, funny, obnoxious, or some combination thereof. Their sing-talking style is not really my thing, but this was the one track on their Sweet Princess EP that muted that aspect and let the music come through.

Declan McKenna – British Bombs. I did not like “Brazil” but I’m into this angry protest track over the UK’s role in the ongoing genocide in the Yemen.

Miss June – Anomaly. Power-pop from New Zealand who made a modest splash with “Best Girl” earlier this year and have followed it with Bad Luck Party, including this very mid-90s alternative radio kind of track.

Death Cab for Cutie – To the Ground. A slow-building, tense track from DCFC ahead of the release of The Blue EP on Saturday.

Sleater-Kinney – LOVE. Sleater-Kinney came back from a lengthy hiatus in 2015 with No Cities to Love, a rock album that was more polished than their previous efforts but still clearly their sound. Their new record The Center Won’t Hold was produced by St. Vincent, and it’s a departure, particularly in their use of electronic elements for the percussion; I’m not surprised Janet Weiss decided to leave the band after their “new direction.” Weiss was in a serious car accident in early August; fans donated over $60,000 to a GoFundMe to help pay her medical bills.

Two Door Cinema Club – Once. This might be my favorite 2DCC track ever; it certainly is the most immediately catchy of theirs.

John Coltrane – Blue World. This is the title track from a lost Coltrane album, recorded in 1964 for a French art film. I’m not a jazz aficionado by any means but if you asked me to put on a jazz album, it’d be Giant Steps.

Jorja Smith feat. Burna Boy – Be Honest. Smith’s Lost and Found was one of my favorite albums last year; this single, featuring the Nigerian rapper Burna Boy, might be a one-off but has already hit the top 20 in the UK, once again showing off the R&B singer’s strong, highly expressive voice.

Mike Epps with Big Boi and Sleepy Brown – We Goin’ Out. I only knew of Mike Epps as a comedian, but he’s released a few singles and even an album of rap songs; this song is just fun, bouncy like some mid-80s funk tracks, with the always-worthwhile Big Boi contributing a verse.

BROCKHAMPTON – BOY BYE. I haven’t checked out the whole album, Ginger, yet, but I’ve liked the two singles I’ve heard so far.

Floating Points – Last Bloom. More compelling, hypnotic, intelligent instrumental EDM from Floating Points ahead of his second album, Crush, due out in October.

Sleeper – More than I Do. I liked Sleeper quite a bit during their Britpop heyday, especially “Nice Guy Eddie” and “Statuesque,” and included the lead single from this album on my January playlist, but missed their comeback album The Modern Age, their first in 22 years. This track and that prior single both sound shockingly like their old stuff – amazing after a hiatus of that length.

Bat for Lashes – Jasmine. The always-compelling Natasha Khan releases her new album Lost Girls on September 6th.

Chelsea Wolfe – Be All Things. Wolfe’s weird blend of folk and metal caught my attention a few years ago with Hiss Spun, but the two lead singles ahead of Birth of Violence, due out September 13th, have eschewed the extreme metal aspects in favor of highly atmospheric vocals and slow-picked guitars.

Here Lies Man – Long Legs (Look Away). I generally like HLM’s style of blues-rock anyway, but this is very funky to the point that it feels like a dance track.

Sacred Reich – Salvation. Sacred Reich were always in the second tier of American thrash acts, never breaking through even to the extent of a Testament or Vio-lence. They reunited a few years ago, but their just-released Awakening is their first new album in 23 years, and first since the death of founding guitarist Jeff Martinek. It also won’t include their other founding guitarist Jason Rainey, who stepped down due to health reasons in February.

King Gizzard and the Lizard Wizard – Mars for the Rich. King Gizzard just released their second album of the year, this one full of old-school metal tracks ranging from bluesy, tracks like this to some outright thrash paeans.

Alcest – Protection. Alcest’s Kodama was my top metal album of 2016 for its blend of death metal and shoegaze; this first track from the French duo’s upcoming LP seems to drift further back into the metal direction after they veered harder into shoegaze with their previous two releases.

Insomnium – Valediction. The Finnish melodic death metallers return with a track that is highly melodic, almost catchy, while also bringing their trademark melancholic lyrics and strong guitar work.

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→ August 5, 2019
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Music update, July 2019.

I always feel a bit disappointed when my monthly playlists are on the short side, like this one is, as if I didn’t look hard enough for good songs. There is so much music released each month that it seems like even a “bad” month should still have at least twenty or so great songs, right? I did look, though, and stalled out with this list, which probably includes a song or two I might have omitted had the list been longer (including a cover and an unreleased track from the 1980s). Anyway, as always, you can access the Spotify playlist directly if you can’t see the widget below.

Prince – Holly Rock. Prince wrote and produced the original “Holly Rock” for Sheila E., whose version appeared on the Krush Groove soundtrack, but this is the first time that his own recording of the song – which is more polished than the demos his estate has been releasing this year – has appeared in official form. It’s vintage Prince with a heavy funk influence and Sheila E.’s ornate percussion work.

Ride – Repetition. I wonder if it’s even fair to call them shoegazers any more; their sound across two albums and a few singles since their return from a 17-year hiatus has been far more upbeat and accessible. It’s a positive evolution, though; I liked their early stuff but have connected more with their post-hiatus output.

Lauren Ruth Ward and Desi Valentine – Same Soul. A very bluesy duet from one of my new favorite singers in Ward and a classic R&B singer in Valentine, who had a modest hit in 2016 with “Fate Don’t Know You.”

Of Monsters and Men – Róróró. The Icelandic band’s third album Fever Dream dropped two Fridays ago, and it’s a definite shift in their sound, with more electronic elements, a mixed bag of a handful of tracks that showcase Nanna Hilmarsdóttir’s voice and others that lose her amidst generic drum machine sounds and weak melodies. This, “Alligator,” and “Wild Roses” are among the highlights.

Frank Turner – The Death of Dora Hand. Turner’s new EP No Man’s Land has three very intimate acoustic tracks that almost feel like Americana (interesting, since he’s English) rather than his usual folk/punk style.

Ceremony – In the Spirit World Now. Ceremony’s transition from hardcore punk band to direct descendants of Joy Division continues with this title track from their forthcoming album, due out August 23rd.

White Reaper – Real Long Time. White Reaper’s punk-pop sound hasn’t failed me yet – they have a real knack for strong, new hooks that always sound just a little bit familiar to me.

DIIV – Skin Game. This is DIIV’s first new track since founder/singer Zachary Cole Smith spent six months in rehab for addiction.

Ben Gibbard – Keep Yourself Warm. This is easily my favorite track from Tiny Changes: A Celebration Of Frightened Rabbit’s ‘The Midnight Organ Fight’, a cover album in memory of the Scottish band’s lead singer Scott Hutchison, who took his own life in May of last year.

Floating Points – Coorabell. The B side to his single “LesAlpx” is also brilliant – another pulsing, driving electronic track that stays accessible despite its experimental leanings.

Just Mustard – October. Speaking of shoegaze, this Irish band’s music might have fit better in that early 1990s movement than it does today.

Vivian Girls – Sick. The Vivs are back together … okay, I didn’t really know their work prior to bassist Katy Goodman’s solo project La Sera, but they’ve now reunited after a five-year absence with their pre-hiatus lineup.

The Struts – Pegasus Seiya. This song doesn’t sound like anything the Struts, who are kind of a glam/pop band with hard rock trappings, have done before – it’s like a strange homage to Judas Priest-era British metal, and I can’t get the thing out of my head.

High on Fire – Bat Salad. This instrumental, part of a three-song EP that includes covers of Celtic Frost and Bad Brains, first appeared for record store day in April, and just hit digital last month. It’s outstanding, and a good track for folks who like heavy guitar riffing but can’t deal with Matt Pike’s yelling vocals.

Opeth – Heart in Hand. Maybe my favorite song of the month, “Heart in Hand” (also released in a version with lyrics in their native Swedish) is a nine-minute prog metal opus that seems to draw equally on the complex progressive styles of 1970s icons like King Crimson while providing more 1980s-level thrash and metal riffing than Opeth has given listeners in their last two albums.

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→ July 3, 2019
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Music update, June 2019.

Solid month in June for new music from some old favorites, plus three singles here from albums released before June that I’ve especially enjoyed (whenyoung, YONAKA, the Amazons). The first song here gets the closest thing I’ve done to a full album review in many years, but it deserved the time. As always, if you can’t see the Spotify widget below you can access the playlist here.

black midi – Reggae. black midi are the critical flavor of the month after their debut album, Schlagenheim, appeared in June, to effusive acclaim … and it’s true, the album is unlike anything I’ve ever heard before. It is dense, intellectual, and challenging, often asking you to rethink the basic tenets of melody and rhythm that have been part of rock music since its inception. It’s also pretentious and at multiple points seems to dare you to skip to the next song, especially with Geordie Greep’s weird intonations and sudden dives into extreme-metal screaming. The album doesn’t include their strong lead-up singles “Talking Heads” or “Crow’s Perch,” which would actually be its most accessible songs if they’d made the record. “Reggae” was my compromise choice for the playlist, because it shows off their tonal oddities and still adheres a little to some rock conventions. The closer “Ducter” has some of the album’s highest points, as does the eight-minute “Western,” but they are endurance tests as well. “Near DT, MI” is a two-minute burst of ideas, but you have to get past Greep screaming at you – and his lyrics typically make little sense. “Speedway” could be a better introduction to what black midi, named after an obscure form of music that can only be played by computers because there are so many notes that sheet music for the songs would appear smudged with black ink, are trying to express through dissonant chords and polyrhythmic drumming. I don’t think it’s my favorite album of 2019, but it is the most interesting by far.

Sløtface – Telepathetic. These Norwegian punk-popsters are back with yet another frenetic, extremely catchy song with quirky lyrics.

YONAKA – Rockstar. YONAKA’s debut full-length Don’t Wait ‘Til Tomorrow is full of catchy songs with smart lyrics about toxic masculinity and modern culture, but this is a diversion, a lighter song with great hooks.

whenyoung – A Labour of Love. The Irish trio whenyoung’s debut album Reasons to Dream is probably my favorite album of the year. I can’t escape the automatic comparison in my head to the first Cranberries album – Aoife Power’s accent evokes Dolores O’Riordan – but there’s more depth here, including tempo shifts and rapid jumps from low to high as you’ll find in this song.

Phantogram – Into Happiness. This is the first Phantogram song I’ve liked where Josh Carter sings; any other song by them that I’ve ever included on a playlist had Sarah Barthel singing alone. I assume this is a precursor to a new album, which would be their first since 2016.

The Regrettes – I Dare You. Critics seem to tag The Regrettes, led by 18-year-old singer/guitarist Lydia Night, as a punk band, but this song could just as easily have come from The Strokes’ catalog.

Metronomy – Salted Caramel Ice Cream. So I thought this was a different band, then pulled up the song on Spotify and realized I had the wrong group but really liked the track. It’s kind of wonderfully silly, and the electronic trappings mask the fact that it’s a basic 12-bar blues pattern.

Temples – Hot Motion. Temples has made my year-end top 100s twice before, with 2013’s “Colours to Life” and 2017’s “Certainty,” although if you know anything by them it’s probably their first hit, “Shelter Song.” The sound here is similarly retro, with a strong dose of psychedelia, with a jangly guitar riff driving the song.

Belle & Sebastian – Sister Buddha. This is the first single from B&S’s upcoming soundtrack to the film Days of the Bagnold Summer, a comedy due out in September from actor Simon Bird.

Floating Points – LesAlpx. Floating Points is neuroscientist and electronic musician Sam Shepherd, whose 2015 album Elaenia was a masterful work of experimental, sparse electronica. This new single seems more accessible and more in line with current trends in EDM, but it’s no less compelling.

Goodie Mob feat. Organized Noise – No Rain No Rainbow. Goodie Mob aren’t just founders of the Dirty South scene, they made the term mainstream in their 1995 song of that name. They’ve only released one album in the 15 years since Cee-Lo first departed the group (he returned in 2011), and this single appeared without any announcement of a forthcoming record. It’s pretty strong for a group that’s barely put out any music in two decades, although I can’t include them without at least acknowledging Cee-Lo’s problematic history: a woman accused him of slipping a drug into her drink and raping her, which led to him pleading no contest to charges of supplying her with ecstasy (but no charges for rape).

Spoon – No Bullets Spent. A solid album track from Spoon from their upcoming Everything Hits at Once: The Best of Spoon.

The Wants – Clearly a Crisis. A new Brooklyn alternative-rock trio, the Wants deliver a funk-tinged slice of post-punk on their newest single, like something captured in the fleeting moments before post-punk decayed fully into new wave.

LIFE – Hollow Thing. We’re really just calling everyone a punk band now, aren’t we? There’s a punk influence here, but this Hull-based quartet, who toured with actual punk band IDLES, are definitely more in the “snotty English rock band” vein – and I mean that in the nicest possible way.

Thrice – A Better Bridge. Thrice’s A Deeper Wells EP includes cuts from the Palms sessions that didn’t make the album, but if anything I think I like several tracks from the EP more than the songs that likely took their place.

The Amazons – Dark Visions. Future Dust, the Amazons’ second full-length album, dropped in May, and it’s a big move forward from their debut, as the great guitar work from their 2017 single “Black Magic” is all over this new record.

Lightning Born – Renegade. Lightning Born features Corrosion of Conformity bassist Mike Dean, but this is more vocalist Brenna Leath and guitarist Erik Sugg’s show, with a clear ’70s classic metal influence all over this two-and-a-half minute track.

Pallbearer – Atlantis. American doom stalwarts Pallbearer haven’t announced plans for a new album yet, but they released this one-off track as part of the Sub Pop Singles series.

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→ May 6, 2019
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Music update, April 2019.

I’m not sure why April was so light on new music, especially since I’ve already started a new playlist for May and have a half-dozen songs on it (including “Alligator,” the new single from Of Monsters & Men). April did bring the debut album from Jade Bird, whom I’ve featured on many past playlists. I figured it was better to just wrap this one up now and let the May playlist be longer. You can access the Spotify playlist here if you can’t see the widget below.

Hatchie – Stay With Me. The Australian singer-songwriter Hatchie, whose dreamy indie-pop songs have been all over my playlists for a year and a half now, will release her debut album Keepsake on June 21st.

Ten Fé – Waterfalls. Yep, it’s a cover of the TLC song, which I don’t even particularly like, but this version is another creature entirely.

Hot Chip – Hungry Child. The English electronic/indie stalwarts will put out their seventh album, A Bath Full of Ecstasy, on June 21st. It’s their first album produced entirely by people outside of the band members themselves.

Working Men’s Club – Bad Blood. If I played this for you and told you it was a lost British New Wave track from 1983, would you have any reason to doubt me?

Tame Impala – Borderline. This might be my favorite song by Kevin Parker since “Solitude is Bliss,” in part because it’s so different from the band’s signature sound, with a heavy ’70s soul vibe.

Broken Social Scene – Can’t Find My Heart. This song rocks much harder than most of the Broken Social Scene songs I’ve heard before – at least, it’s not the sound I expect from this eclectic Canadian outfit.

Pharlee – Darkest Hour. I’ve criticized the derivative sound of Greta van Fleet a few times here and on Twitter, but if you like their extremely Led Zeppelin thing, I have a few new songs to recommend, starting with this bluesy psychedelic rocker from a new San Diego group helmed by Macarena Rivera.

Feeder – Fear of Flying. Yes, the same Feeder who had a modest (and slightly annoying) hit in 1997 with “High,” now a duo who announced that their tenth album, Tallulah, will drop in August. There’s no resemblance to their big hit on this driving, melodic rocker.

Ride – Future Love. Shoegaze icons Ride, now fully embracing their comeback two decades after their brief heyday, have recorded … a Britpop song? This has to be the most upbeat track the Oxonians have ever released, the first single from their upcoming album This Is Not a Safe Place, which is due out on August 16th.

Port Noir – Champagne. Port Noir’s label calls them “post-metal” but I just think of them as melodic hard rock, not really metal, with some progressive elements as well.

King Gizzard & The Lizard Wizard – The Cruel Millennial. Another recommendation if you like Led Zeppelin or other blues-heavy classic rock acts; the prolific Australian band just released their fourteenth album in eight years (!), Fishing for Fishes, which is a little inconsistent but has a few real uptempo, blues/jam tracks like this one and “Boogieman Sam.”

Band Of Skulls – Gold. I was hoping for more rock sounds on Band of Skulls’ new album, Love Is All You Love, but it’s a generally downtempo, mellower album than my favorite of their records, 2014’s Himalayan, with the closer “Gold” one of the heavier tracks on the record.

Helms Alee – Spider Jar. The intro to this song reminds me so much of the start of “Prime Cut” from Prong’s 1990 record Beg to Differ, although this song veers in a more progressive direction rather than the lean post-hardcore style of that earlier song. The Seattle band’s latest album, released two weeks ago, is called Noctiluca, which also happens to be the name of the board game I’m reviewing this week for Paste.

Diamond Head – Death by Design. These NWOBHM icons will release their eighth studio album, their second with new lead singer Rasmus Bom Anderson, on May 24th, and their sound really doesn’t seem to have changed that substantially from their influential if still obscure debut album Lightning to the Nations.

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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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→ March 4, 2019
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Music update, February 2019.

February is short enough as it is, and I delivered my last music update a bit late due to the prospect rankings, so I held off on this one until we got one more spate of new releases on March 1st, so the post would at least get to an hour’s worth of new music (without counting the ten-minute track near the end, because that’s cheating). As always, you can access the Spotify playlist here if you can’t see the widget below.

The Amazons – Mother. The Amazons’ self-titled debut album hit the British top ten in 2017; I thought “Black Magic” was outstanding, powered by a huge, muscular guitar riff, but the rest of the album was tepid by comparison and didn’t carry that sound forward. This new single is also driven by a rich, heavy guitar riff.

Foals – On the Luna. Foals put out two singles from their upcoming album, Everything Not Saved Will Be Lost – Part 1, in the last month; this one is tremendous, peak Foals, heavy and dark and still catchy and danceable, like the lead single “Exits,” although the third single “Sunday” is gloomier and slower, so not quite my cup of tea.

Ten Fé – Here Again. More melodic, ’70s-influenced, slightly soft rock from the London-based quintet, who’ll drop their second album, Future Perfect, Present Tense, this Friday.

Sundara Karma – Little Smart Houses. That little record-skip stop in the verses is … an acquired taste? Affected? The chorus is great, though, a great harbinger for the English art-rockers’ second album, Ulfilas’ Alphabet, which just came out on Friday.

Metric – Risk. I love Emily Haines’ voice, but Metric’s music as a whole has been a mixed bag for me, and some of their strongest melodies have paired with their weakest lyrics – and it seems like Haines’ voice is more natural when the vocals are more like another instrument as opposed to a way to tell a story or recite a poem to music. Perhaps that’s just me, but I’ll put “Risk” in the yes column.

Little Simz – Offence. Little Simz, a British rapper of Nigerian descent, just released her third album, GREY Area, her first new music since she toured with Gorillaz after their Humans album came out. “Offence” was the lead single and first appeared back in September, with “Boss” (not quite as good) and “Selfish” (good, but with some problematic lyrics) following as singles before the album dropped.

Hatchie – Without a Blush. Hatchie has barely missed since she started putting out singles late in 2017, and she just announced her debut album, Keepsake, will come out on June 21st. I keep seeing references to her as “dream pop” and to her speaking of Mazzy Star, the Cocteau Twins, and My Bloody Valentine as major influences, but she crafts stronger melodies than any of those three and I still hear reminders everywhere in her music of the earliest stuff from the Cranberries.

The Mowgli’s – Talk About It. This is the fourth song by this six-piece American alternative act that I’ve included on a monthly playlist, and definitely the best since the first single I heard by the group, 2013’s “San Francisco” – similarly upbeat and catchy and cute without being cloying.

Sunflower Bean – Fear City. I think I’ve now included all four songs from Sunflower Bean’s new EP King of the Dudes, since they’re all great. They’ve become one of my favorite bands going between this and last year’s album Twentytwo in Blue.

Man of Moon – Skin. Scottish duo who appear to have listened to every New Order song ever recorded have put out a song that sounds a lot like vintage New Order.

Reignwolf – Black and Red. I felt like Reignwolf was a ‘buzz’ band a few years ago, but had never panned out; they were indeed hyped by the music press around 2013-14, and are just now getting around to releasing an actual album, Hear Me Out, which came out on March 1st, six years after their first single appeared. Fronted by Canadian guitarist Jordan Cook, Reignwolf does blues-heavy rock, with dramatic tonal shifts throughout this slithering lead single.

Ex Hex – Rainbow Shiner. Ex Hex, led by former Helium founder Mary Timony, released their debut album Rips in 2014 but then largely vanished until they put out a few singles last fall and this winter, all ahead of their upcoming second album It’s Real, due out March 22nd.

Tim Bowness and Pete Hammill – It’s the World. That’s Pete Hammill of Van der Graaf Generator, a band formed six years before I was born, joining Bowness, an English experimental musician who has been part of the rather obscure, long-running duo No-Man. (They had a top 40 dance track in the U.S. in 1994, “Taking It Like a Man,” of which I have zero memory.) I’m mostly drawn to that doom-metal guitar riff that seems stylistically out of place but that perfectly fits the song’s atmosphere.

Wheel – Tyrant. Yes, the song is ten minutes long; the Finnish progressive quartet’s debut album, Moving Backwards, just dropped, and has seven songs running a total of 48 minutes, with three tracks clocking in at nine-plus.

Saint Vitus – 12 Years in the Tomb. Saint Vitus is one of the most influential bands in both American metal and within the doom metal subgenre, forming in 1979 and taking their name from a Black Sabbath song, but they were never terribly popular and haven’t released anything new since 2012, so this song’s appearance was a surprise. Even more surprising is the return of original lead singer Scott Reagers, whose last appearance on wax with Saint Vitus came in 1995.

Alexisonfire – Familiar Drugs. Presented more out of newsworthiness than any endorsement of the song, which I think is just fair. This is the Canadian post-hardcore/extreme metal band’s first release of any new material since 2010.

Children of Bodom – Platitudes and Barren Words. These Finnish melodic death metal stalwarts release their latest album, Hexed, this upcoming Friday, and continue to show they can still dance on the edge of mainstream rock without falling into the abyss (as with In Flames, whose latest album has a bunch of great riffs and embarrassing vocals and choruses).

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→ February 7, 2019
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Music update, January 2019.

Sorry this is a bit late, but I had to write a thing about some prospects. If you can’t see the Spotify widget you can access the playlist here.

White Lies – Tokyo. If this song doesn’t put you back in 1985, I’m guessing you weren’t old enough to listen to the radio back then.

Spielbergs – Distant Star. This Norwegian trio reminds me a lot of the Wombats, if the Wombats were more punk and skipped most production values on their records, and sure enough the Spielbergs recorded their debut album, This is Not the End, at the Oslo studio of the Wombats’ bassist. It’s pop-tinged punk with just the right hardness to its edge.

Potty Mouth – 22. Potty Mouth’s 2015 single, “Cherry Picking,” was followed by a five-song EP, one more single, and then three years of silence before this track appeared a few weeks ago. It’s very much in the same vein as “Cherry Picking,” power pop with heavier distortion on the rhythm guitar, and it comes with the delightful news that the band’s sophomore album, Snafu, will arrive on March 1st.

Thrice – Hold Up A Light (Edit). The album version of this track appeared on last year’s Palms, but I’m including it here since drummer Riley is a friend of the dish and I didn’t feature this song anywhere last year.

Satin Jackets with Panama – Automatic. Panama is Australian songwriter/producer Jarrah McCleary, who’s appeared on my lists a few times in the past, primarily with his 2013 standout track “Always.” This is his collaboration with German house/disco producer Tim Bernhardt, a.k.a. Satin Jackets, although if the vocals were McCleary’s I’d believe this was a Panama solo track.

Sunflower Bean – King Of The Dudes. The title track from Sunflower Bean’s four-song EP showcases Julia Cumming’s strutting, cocky vocals, just as its lead single “Come for Me” did last fall. There’s a moment in the second verse where she sounds like she’s channeling Haley Shea of Sløtface.

Jade Bird – I Get No Joy. Bird had my #3 song of 2018 with “Love Has All Been Done Before” and is back with this track, which isn’t quite as immediately catchy but still showcases her lyric writing and her Joplinesque vocals.

Swervedriver – Good Times Are So Hard To Follow. Swervedriver’s second album into their comeback, Future Ruins, dropped last month, with three or four solid singles and then a number of longer tracks, two clocking in over six minutes, that are solid but lack hooks – good songs in between the singles. This is one of the better singles on the record albeit not up to “Mary Winter” or “The Lonely Crowd Fades in the Air.”

Teeth Of The Sea – I’d Rather, Jack (Radio Edit). Teeth of the Sea’s Master was one of my top albums of 2013, but then they put out a short album in 2015 (Highly Deadly Black Tarantula, six songs, 37 minutes) that I completely missed. They returned with a seven-minute single last year, and now have put out this more easily digested four-minute track of experimental, instrumental music, which veers from movement to movement over a dark, brooding backdrop.

Big Boi – Doin’ It (feat. Sleepy Brown). I was pleasantly surprised by this Big Boi track, maybe my favorite thing he’s done in ten years, mostly because he sounds so good here.

Foals – Exits. Foals will release two albums this year, parts 1 and 2 of a record called Everything Not Saved Will Be Lost, led off by this single, which is nearly six minutes on the album but 3:50 here. This is more “Inhaler” than “Mountain at My Gates.”

Voodoos – Natalie. These Glaswegian punk-popsters first debuted this track in 2017, but have since signed a record deal and re-recorded it; as much as I see Voodoos tabbed a punk band, this feels like it could have come from the mind of Alex Turner.

Beck – Tarantula. Beck reworked a forgettable 1982 electronica track by Colourbox (later covered and improved by This Mortal Coil) for a new album of songs “inspired” by the new film Roma, with vocal help here from Feist and Natasha Khan (a.k.a. Bat for Lashes).

Crows – Chain of Being. Signed to the new label helmed by IDLES lead singer Joe Talbot, Crows released this single of post-rock with a hint of shoegaze head of their debut album, Silver Tongues, due out later this year.

Wheel – Where the Pieces Lie. Wheel, a four-piece band based in Finland with an English lead singer, might hit the sweet spot for my taste in heavier music – the music is heavy, hard-edged, and challenging, all with clean vocals. I do have a soft spot for old-school thrash but the way Wheel’s tracks meander without abandoning their core heaviness, here most present in the chorus, is just spot on.

Astronoid – A New Color. The list gets a bit heavier the further I go; Astronoid’s music is spacier (appropriate), more psychedelic, but also bumps up against the edges of thrash or speed metal in the chorus.

Týr – Fire and Flame. Viking metal can be hit or miss, but Týr seem to get it just right – there’s something playful about their music that prevents me from feeling like we’re all taking this Viking shit a little too seriously.

Children Of Bodom – This Road. CoB might be my favorite melodic death metal band going right now; it’s difficult to create metal riffs that are catchy without sacrificing the sort of (drops voice two octaves) heaviness extreme metal fans want. There’s some pedal-point riffing in the chorus here too, punctuated by an arpeggio (maybe of artificial harmonics? I never could make those work on my guitar), that I’d like to bottle.

Dream Theater – Fall into the Light. Dream Theater are about to release their fourteenth studio album, Distance over Time, which will drop just 12 days before the thirtieth anniversary of the release of their debut record When Dream and Day Unite. This seven-minute opus, complete with acoustic interlude around the 3:20 mark, has a solid hook in the standard Dream Theater vein of progressive metal, but also reminded me of that brief halcyon moment when Metallica blew the doors off the confines of thrash and would put out songs like this, sometimes running nine minutes, with different movements and massive tempo shifts. And then they released the black album and were never heard from again. Anyway, this is a good track. Love the keyboard solo, too.

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→ January 6, 2019
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Music update, December 2018.

I posted my rankings of my top 100 songs of 2018 and my top 18 albums of the year in mid-December, so this monthly playlist is a little shorter than normal – plus artists tend to release less new material during the holidays. I still found fifteen songs worth sharing, though, a few of which were out in time for my year-end list. As always, you can access the Spotify playlist here if you can’t see the widget below.

Are We Static – Weight of Water. A new single from these British alt-rockers who draw on equal parts Britpop, new wave, and classic British psychedelia, this time featuring guest vocals by Sussex-based folk singer Talitha Rise.

White Lies – Finish Line. A middling follow-up to the strong lead singles ahead of the group’s forthcoming record Five, due out February 1st.

Blac Rabbit – Seize the Day. I was sure this was a new Tame Impala track the first time I heard it, but I suppose that’s a compliment, especially since I love that group’s ventures into psychedelic rock. Anyway, Blac Rabbit is a Brooklyn quartet whom Wikipedia tells me often draws comparisons to … Tame Impala.

Sleeper – Look At You Now. All the Britpop icons are getting back together; Sleeper reunited in 2017, and their first album in 22 years, Modern Age, will drop in March. I didn’t realize that in the interim lead singer/songwriter/seductress Louise Wener had written four novels. She still sounds the same, and this track has that same sort of slightly off-kilter riff that Sleeper’s best hits (“Delicious,” “Inbetweener,” “Nice Guy Eddie”) had.

Swervedriver – The Lonely Crowd Fades In The Air. Speaking of ’90s British bands making comebacks, this makes two good songs in three singles ahead of Swervedriver’s upcoming album, Future Ruins, their second since they reunited.

Lauren Ruth Ward – White Rabbit. Ward has put out two covers of classic rock tracks in the last month, this one, which I think is pretty strong and plays well to her vocal strengths, and a cover of the Doors’ “Break On Through (To the Other Side),” where she’s oddly restrained on a song that calls for a bit of bombast.

whenyoung – Given Up. Singer/bassist Aiofe Power looks like Riley Keough and sounds a lot like Dolores O’Riordan, which makes the band’s cover of the Cranberries’ “Dreams,” found on the same EP as this indie-pop track, eerily authentic to the original.

Anteros – Fool Moon. I think this is the most danceable song so far from this London quartet, who seem to dabble in all corners of indie rock.

Hinds – British Mind. A new single just a few months after this Spanish band released their second album, I Don’t Run, which featured one of my top 100 songs of the year in “Tester.”

Ten Fé – Echo Park. A bit of a change of pace from these guys, who specialize in ’70s-tinged soft rock that still manages to feel modern.

Lady Bird – Reprisal. These British punks made my top 100 this year with “Spoons,” and capped off their year with this single, more of the same with spoken lyrics and a catchy guitar riff beneath it.

The Raconteurs – Now That You’re Gone. A new song from the Jack White-led supergroup that accompanied a reissue of Consolers of the Lonely and will also appear on a (surprise!) new Raconteurs album in 2019.

Wheel – Vultures. Another one from my top 100, one of only two metal songs on the list (along with Ghost’s “Rats”), from a new Finnish prog-metal act who have promised a debut album in February.

Teeth Of The Sea – Hiraeth. Teeth of the Sea’s 2013 Master made my list of the best albums of that year, but they’d been quiet since 2015’s Highly Deadly Black Tarantula before this new seven-minute opus appeared last month, with more of the same experimental post-rock stylings, showing their ability to create eerie soundscapes is completely intact.

Children Of Bodom – Under Grass and Clover. I liked 2013’s Halo of Blood, especially for the track “Transference,” which is one of the best melodic death metal songs I’ve ever heard, but the 2015 follow-up I Worship Chaos went too far in the commercial direction (and then the silly death growls sounded even more ridiculous than ever). This track is the first single from their forthcoming album Hexed, due out in March, and I’m cautiously optimistic that they’re not going full In Flames on us.

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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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