→ 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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→ 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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→ October 3, 2018
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Music update, September 2018.

September wasn’t a great month overall for new singles, perhaps because it was so loaded with albums that had already spent their best tracks in teaser releases, so I have a first for these playlists – three of the tracks are covers, which I believe is the most I’ve ever included. You can access the playlist here if you can’t see the Spotify widget below.

Black Honey – Crowded City. I’ve featured Black Honey tracks on playlists here for two years now, and their self-titled debut album finally came out last week, debuting at #33 on the UK albums chart. The record includes five songs I’ve included in past posts, but omits “Somebody Better” (#32 on my 2017 top 100) and “All My Pride” (#81 on my 2016 top 100) while including my favorite track from them so far, “Hello Today” (#21 in 2016) as well as this new uptempo banger. UPDATE: The whole damn album is good.

San Cisco – When I Dream. This Australian quartet has a knack for incredibly catchy melodies, hitting my year-end top 20 twice with “Awkward” and “Too Much Time Together,” but their 2017 album The Water fell short of previous efforts because it didn’t have the same hooks. This new single has one.

Jungle – Smile. Jungle’s second album, For Ever, dropped in September, and this track’s pseudo-African percussion line opens up the record, which has a better balance of dance tracks and slow jams than their debut did.

Gunship – When You Grow up, Your Heart Dies. I get a sort of White Lies vibe out of this track, which clearly descends from the same new wave evolutionary branch.

Metric – Now or Never Now. I’ve liked the occasional Metric song but wouldn’t call myself a fan of their catalog as a whole; this has the right sound and a decent hook, although I fear it doesn’t have the staying power of some of their previous hits.

Alain Johannes Trio – Luna a Sol (featuring Mike Patton). Yep, that’s Faith No More & Mr. Bungle frontman Mike Patton singing in Johannes’ native Spanish. Johannes’ name isn’t familiar, but he’s worked with a slew of bands you know in the hard/alternative rock space, including QotSA & affiliated acts, Arctic Monkeys, Mark Lanegan, Jimmy Eat World, and recently PJ Harvey, as a musician, engineer, and producer. This hypnotic, psychedelic hard rock track might be held back from airplay because it’s in Spanish but the sound is very post-grunge.

Speedy Ortiz – Blood Keeper. Speedy Ortiz is touring with Liz Phair, so the talented Sadie Dupuis and company covered this track, an outtake from Phair’s Whitechocolatespaceegg record that was never officially released.

Radkey – St. Elwood. It looks like this trio of brothers are gearing up to finally release their sophomore album, four years after their debut Dark Black Makeup appeared, with this single out now and another, “Rock and Roll Homeschool,” out this Friday.

Van William – Pictures Of Me. Friend of the dish Van Pierszalowski released this one-off single, a cover of an Elliott Smith track from the late singer/songwriter’s 1997 album Either/Or.

Sarah Chernoff – Crime. The B-side to the single “You’re Free” that Chernoff, ex-Superhumanoids chanteuse, released at the end of August is just as strong as the lead single. Her voice is among my favorites in music today and I think it marries especially well with this kind of ethereal electronic backing.

Death Cab for Cutie – Summer Years. DCFC’s Thank You for Today came out in late August and reminds me quite a bit of their preceding album in tone, theme, and production style, with “Gold Rush” still my favorite single from the album (and one of my favorite songs of the year so far) and this one somewhere in the mix for #2.

BROCKHAMPTON – HONEY. This Texas music collective calls itself a “boy band,” although I think that’s a too-cute way of avoiding trying to categorize their music, which incorporates many different styles including hip-hop, alternative rock, and electronica. What they really aren’t is pop, which is what marks boy bands (and makes them rather disposable), but they appear to be popular, as their new album Iridescence debuted at #1 this week and sold over 100,000 units.

Purple Heart Parade – Lonestar. Shoegaze dream-pop from Manchester, as if it’s still 1995 and we’re all still tripping balls.

The Magic Gang – Getting Along. “The Magic Gang” sounds like the name of a fictional kid’s show from the late 1970s that would get worked into an SNL sketch, much like the fake sitcom “Switcheroo.” This very real band, from southern England, has that classic indie blend of hooks, harmonies, and something that’s just a little too rough around the edges for the mainstream. Their self-titled debut album is out now, with this my favorite song.

YONAKA – Wish You Were Somebody. YONAKA’s songs all have an early Joan Jett sort of sneer that contrasts nicely with the hooks that show up on all of their tracks. “You can kiss my ass goodbye/I’m with some other guy” seems like it should the angry breakup anthem of the season.

FIDLAR – Too Real. This song, FIDLAR’s first in over two years, starts out as a weird trance-like “is this really a FIDLAR song” thing that eventually transforms into a profanity-filled rage track with a lot of screaming. I like it but you’ve been warned.

Drug Church – Strong References. Punk that might stop just short of hardcore to stay just accessible enough for a broader audience – including me. It’s heavy and a little grating at times, but Patrick Kindlon (of Self Defense Family) and company mix in some alternative elements and hints of a melody to keep this from becoming just another forgettable hardcore track.

Pallbearer – Run Like Hell. Yep, that’s a cover of the Pink Floyd classic. I’ll be honest – I go back and forth on whether I like this reimagining of a fairly iconic song from The Wall.

Riverside – Acid Rain. Progressive metal from Poland, with Wasteland, their latest album, dropping a week or so ago, featuring clean vocals and a mixture of metal sounds that wouldn’t be out of place in Gothenburg with latter-day Opeth-style prog passages. If you like this kind of sophisticated metal, I also recommend “Wasteland” and the nine-minute instrumental “Struggle for Survival,” which avoids some of the tweet vocals that pop up elsewhere on the album.

Horrendous – Devotion (Blood for Ink). Horrendous is the best extreme metal band going right now, producing highly technical, progressive, challenging metal, with growled vocals (meh) and occasional blast beats (bleh) but brilliant, intricate fretwork. Their fourth album, Idol, just came out a week ago, and continues the trend that started with 2014’s Ecdysis and continued with 2015’s Anareta, as they moved from straight-up melodic death metal to this frankly exciting blend of OSDM, classic thrash, and thoroughly modern, progressive metal.

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→ September 2, 2018
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Music update, August 2018.

I believe this is the longest monthly playlist of new music I’ve ever posted, running 30 songs and just shy of two hours, thanks in large part to a huge spate of new album releases in the last four weeks. Even at that I could have included more tracks and have more songs and albums I still want to check out, but the calendar had other ideas so I decided to call it a day and post this before October loomed. You can access the playlist directly here if you can’t see the widget below.

The Wombats — Bee-Sting. The Wombats put out a new album in February, a solid record but a little bit of a letdown after the amazing Glitterburg, so the appearance of this new single last week was both a big surprise and a huge boost to a month already replete with great new songs.

Thrice — Only Us. Thrice, featuring friend of the dish Riley Breckenridge on drums, will release its new album Palms on the 14th, with this the second very strong single already to appear from the record.

Art Brut — Wham! Bang! Pow! Let’s Rock Out!. I remember a reader (Bill S., I believe) recommending Art Brut to me about a decade ago, but at the time I found their sound a little too out there, almost deliberately non-musical in certain ways, including the vocals. This song seems written to address everything I didn’t like about their earlier stuff, and has a sort of Wombats/Arctic Monkeys vibe to the lyrics and music.

Nation of Language — Reality. This Brooklyn-based quartet appear to have fallen asleep in 1982 and just woken up without recognizing anything has changed in the world of music – and, as someone who came of age during that synth-heavy era of New Wave, I love it.

Broods — Peach. I adore Georgia Nott’s voice, so hearing her get autotuned up in the pre-chorus here is a bummer, but the hook in the chorus itself is tremendous and we do get to hear her sultry voice in its natural environment during the verses.

Ten Fé — Not Tonight. Ten Fé’s album Hit the Light was my #10 record of 2017, and they’re back now with more of the same ‘70s soft-rock sound just slightly updated with the technology of contemporary music.

Black Honey — Midnight. I might be the biggest Black Honey fan going; I think I’ve liked every single they’ve released so far over the last three years, and now we get their first full-length album, called Black Honey, on the 21st. This is on the poppier end for the group, but I’ve liked their stuff more when they keep this upbeat tempo.

Eric B. & Rakim — I Know You Got Soul ( The Double Trouble Remix ). I waffled a little on including this track; it’s a circa 1988 remix of the song I’ve named the greatest rap song of all time, and it’s not as if you could improve on perfection. But the remix is by Norman Cook, better known as Fatboy Slim, and Danny Poku, better known as D-Mob (“We Call It Acieed”), and backs up Rakim’s vocals with the music of the Jackson Five’s “ABC,” with Kool & the Gang’s “Funky Stuff” in the interludes. It works shockingly well.

Wild Nothing — Shallow Water. If you wanted Wild Nothing to revisit the sound of Nocturne, this track is for you.

Spirit Animal — World War IV. Spirit Animal’s album Born Yesterday is a strange mix of bold, almost bombastic rockers like this one and “The Truth,” and songs that seem like Twenty-One Pilots impressions. (I was going to say “bad Twenty-One Pilots impressions, but that seemed redundant.) If these guys stick to big, macho riffs in traditional rock sounds, they could be huge.

Foxing — Nearer My God. These St. Louis indie-rockers released their latest album, with this the title track and the best song I’ve heard from the record, on August 10th. Conor Murphy’s vocals really shine here as he hits notes I couldn’t hit if I took a football to the groin.

Drenge — Outside. I loved this British duo’s debut album, which took forever to show up in tHe U.S. even though they’d found some success in England, but thought they changed their sound too much for their follow-up record. This sounds more like their first LP – straight-up guitar and drum heavy rock with a little British snarl to it.

Alkaline Trio — Demon and Division. Alkaline Trio’s album Is This Thing Cursed? just dropped on Friday, the 31st, so I haven’t gotten into it yet, but this song, released a few weeks earlier as a single, is another strong power-pop (don’t call it “emo!”) single from Skiba & co.

Death Cab for Cutie — Northern Lights. Thank You for Today dropped on August 17th, with “Gold Rush” still my favorite off the record but this upbeat “Soul Meets Body”-ish track among my favorites from the rest.

Allie X — Science. Alexandra Hughes, who records as Allie X, covers a wide range within electronic indie-pop, but she has a knack for sweetly dark melodies, like this one on the third single from her upcoming album Super Sunset. If you like Sia’s music and vocal style, Allie X is the better version, without the commercial trappings or the wig.

St. Lucia — Bigger. I’m optimistic about St. Lucia’s upcoming third album, Hyperion, which is due out on the 21st, given how bouncy and fun the three singles have been – maybe not as impactful as the singles from his debut, but I think stronger than most of the material on 2016’s Matter other than “Dancing on Glass.”

YONAKA — Teach Me To Fight. I loved this British quartet with a feisty-voiced female lead singer’s track “Wouldn’t Wanna Be Ya” when it came out last year, and they’ve had a few singles in a similar post-punk, snarling vein, including this one, where Theresa Jarvis drops what should be an anthem for young feminists.

CLOVES — Hit Me Hard. CLOVES’s voice stunned me when I first heard her on “Frail Love,” a top ten song for me in 2015, but she was never going to find an audience just doing vocals and piano ballads, so a move into more pop territory was probably inevitable. I’m just glad she’s doing so with solid hooks and without surrendering any of her vocal power or the endearing way she articulates certain sounds.

Sarah Chernoff — You’re Free. Chernoff was the lead singer for the Superhumanoids, a sadly underappreciated dream-pop/electronica band that crafted gorgeous, textured music behind Chernoff’s soaring vocals. Her debut solo album was much more mellow, more in the style of torch songs than pop, but this new track splits the difference and I think provides the perfect platform for her vocal operatics. (I saw Superhumanoids live on their last tour, and met the band after the show. I can vouch for her singing prowess – this is exactly how she sounds in concert.)

Arkells — Relentless. These Canadian indie-rockers will drop their new album on October 19th, and this feels like it should be their breakout single here in the U.S., a danceable rock tune that’s easier than the preceding single “People’s Champ.” I just don’t understand why they used the keyboards from “La Macarena” in the background (sorry, you’ll never unhear this).

The Kooks — Kids. We got two new singles from the Kooks this month, this and “Chicken Bone,” with their new album, Let’s Go Sunshine, appearing on the 31st. I don’t think their sound has changed much at all, but I’m fine with that — Britpop itself may be dead but it’s not necessarily out of it as long as the Kooks are around.

Interpol — If You Really Love Nothing. Yet another album that appeared at the end of August (the 24th) that I still need to listen to, Marauder is Interpol’s sixth and so far has at least given us more hooks on its singles than El Pintor had on the final record.

Cullen Omori — Happiness Reigns. Omori, formerly of the Smith Westerns, just released his second solo album, The Diet, which I have seen compared to early Oasis but to me sounds a lot more like the aforementioned Kooks with a little Wild Nothing thrown in. This was my favorite track off the album.

Ovlov — The Best of You. Stoner rock with a Pinback vibe, most notable on this two-minute track off their latest album, TRU.

The Skull — Ravenswood. More doom metal from three former members of Trouble, still rocking the same Sabbath-ish vibe but with a crunchier, less metal guitar sound.

High On Fire — Electric Messiah. Sleep returned from a 19-year hiatus this spring with a new record, The Sciences, but front man Matt Pike didn’t ditch his primary band, High on Fire, whose music is hard and fast like ‘80s thrash or speed metal but with some stoner or sludge metal elements. This is the title track from their upcoming eighth album, due out October 5th.

Riverside — Vale of Tears. Polish progressive rock with a lot of Opeth to their sound with some shredding in the instrumental sections. Their new album Wasteland, their first since the death of founding guitarist Piotr Grudzi?ski, will drop on September 28th.

Voivod — Obsolete Beings. I’ve spelled out my concerns about Voivod’s new output before — it’s hard to accept anything without the late Denis D’Amour’s songwriting or guitar work as ‘real’ Voivod, and their forthcoming album The Wake (September 21st) will be their first record since 2006’s Katorz to exclude founding bassist Jean-Yves Thériault. But damn does this sound like peak Voivod circa Dimension Hatröss.

Omnium Gatherum — Refining Fire. Add one more album to the list of those that came out on August 31st that I need to listen to, Burning Cold, the latest record from this Finnish melodic death metal act. I did also like “Rest in Your Heart” from the same album, the music of which wouldn’t have been out of place on a pop-metal album in the late 80s with its huge synth lines and downtempo power-chord riffing.

Horrendous — The Idolater. I’ve been a big proponent of Horrendous, a Philly-based technical/progressive death metal band, even with their guttural, indecipherable vocals, because their music is intricate, experimental, and utterly fascinating. Their second album, 2014’s Ecdysis, was like nothing I’d ever heard before, and their follow-up, Anareta, wasn’t far behind. The first two tracks from their fourth album, Idol, which drops September 28th, are both absolute beasts of technical work, but this song feels like their songwriting has become more sophisticated since their last album. I could do without the blast beat, though.

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→ August 1, 2018
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Music update, July 2018.

July seemed like a weaker month for new music than we’ve had in a while, but it’s possible that after my vacation and around some trips I missed some good new releases, too. If you can’t see the widget below, you can access the Spotify playlist here.

TVAM — These Are Not Your Memories. Joe Oxley, the producer/musician who records as TVAM, is new to me, although he’s released a few singles going back to 2015. This track, from his forthcoming debut album Psychic Data, is shoegazey and atmospheric, but with a clear, defined hook, and some bravado to it that’s generally absent in shoegaze music and its spiritual descendants.

Spirit Animal — The Truth. Another artist with whom I was unfamiliar before this song, Spirit Animal, a four-piece act from Brooklyn, produce guitar-driven rock that calls back to classic rock but with hints of funk and metal mixed in. This track has a wonderfully dark riff behind the verses, then shifts to a soaring and funk-tinged mode for the chorus.

Slash — Driving Rain (feat. Myles Kennedy & The Conspirators). Slash has been churning out memorable, heavy guitar riffs for thirty years now, but because his style of music hasn’t been cool since the late ’80s, he’s never really gotten the respect of other similarly talented guitarists. He has a clearly defined sound, evident here even through the fairly generic vocals – if you like Slash’s work, you’d probably pick this out (no pun intended) as his doing right away. It’s not “Slither” or Appetite-level work, but it’s more than just a nostalgia trip.

Greta Van Fleet — When The Curtain Falls. GVF get lots of praise for their Led Zeppelin-derived sound, but I’ve found them more akin to Kingdom Come, imitators rather than spiritual descendants, especially with the lead singer’s falsetto sounding too much like Lenny Wolf. (I’ll admit to a strange fondness for Kingdom Come’s one hit single, “Get It On,” though.) This is the best track I’ve heard from GVF so far, powered by a memorable guitar riff.

The Twilight Sad — I/m Not Here [Missing Face]. I could have sworn I included a Twilight Sad song on a playlist a few years ago but can’t find it. This Scottish (as if you couldn’t tell) duo seem to have drunk deeply from the spirit of Joy Division, early Smiths, Editors, and others in the tradition of depressing new wave-inflected music … but with more energy than they’ve shown in previous singles.

Death Cab for Cutie — I Dreamt We Spoke Again. DCFC’s ninth album, Thank You for Today, drops on August 17th; it’s their first album without guitarist Chris Walla since 1997. This is the second single and lead track, not as immediate as “Gold Rush” but very much in line with their peak output from the first decade of the 2000s.

Maisie Peters — Best I’ll Ever Sing. The now 18-year-old singer/songwriter behind last year’s “The Place We Were Made” is back with another track, this one driven by piano rather than guitar, once again showcases her sense of melody and adorable voice.

Interpol — Number 10. That’s now two promising singles ahead of Interpol’s forthcoming album Marauder, due out August 24th.

The Golden Age of TV — Television. TGATV, a five-piece indie-rock act from Leeds, has released three singles so far, this the strongest (and most rock-tinged) to date. There’s an anthemic vibe that feels like it was written to open a concert, with the lights coming on just as Bea Fletcher’s vocals kick in.

Cut Chemist — Work My Mind. Cut Chemist, formerly one of the DJs in the rap collective Jurassic 5, reunites with Chali 2Na here for the best track of CC’s latest album.

The Internet — Roll (Burbank Funk). The Internet, who may win any competition for the least google-able band name on the planet, earned a Grammy nod for their 2015 album Ego Death in the ‘urban contemporary’ category; I’m not sure what that term encompasses or excludes, but this song sounds like a modern twist on P-Funk to me and I’m good with that.

Jungle — Heavy, California. This English soul music collective, who had a hit in 2014 with “Busy Earnin'” and made my May playlist with “Happy Man,” will drop their second album, For Ever, on September 14th. They’ve released two other tracks from the album, “Cherry” and “House in L.A.,” but both are more downtempo and not my speed.

St. Lucia – Walking Away. It seems like St. Lucia’s sound is evolving further, this time in a more positive direction than their disappointing last album (aside from its lead single, “Dancing on Glass”), between this and “A Brighter Love.” The B side to that latter song, “Paradise is Waiting,” isn’t bad either, although the faux-gospel chorus is a little hackneyed for me.

Alkaline Trio — Blackbird. The Chicago punk trio veered off into more alternative territory with some of their early 2000s releases – “Help Me” is probably my favorite song of theirs, off 2008’s Agony & Irony – but they returned to their roots with their 2013 album My Shame Is True. “Blackbird” is more of the same, the lead single from their upcoming album Is This Thing Cursed?, due out on August 31st.

Mudhoney — Paranoid Core. Never change, Mark Arm. Never change.

Horrendous — Soothsayer. This Philly-based quartet is producing by far the most interesting and sophisticated music of any American death metal band going – it’s technically proficient, musically progressive, and apparently the lyrics are pretty smart too, not that I can understand a word they’re screaming. Their 2015 album Anareta was Decibel‘s top LP of that year, and Ecdysis was the same magazine’s #3 album of 2014. Idol is due out on September 28th.

Omnium Gatherum — Gods Go First. Omnium Gatherum are Finnish but hew closely to the Gothenburg school of melodic death metal, with progressive and thrash elements along with strong musicianship. Their eighth album, The Burning Cold, comes out August 31st.

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→ July 2, 2018
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Music update, June 2018.

Twenty-six songs this month, running 107 minutes if you play them all through, and that’s after I cut a half-dozen tracks that would have pushed it past two hours. There are a few welcome returns here from old favorites as well as artists I just discovered myself, some of which are new to me and some just new, period. You can access the Spotify playlist here if you can’t see the widget below.

Death Cab for Cutie – Gold Rush. Ben Gibbard’s best song since … “You Are a Tourist?” Something off Narrow Stairs? I’m pleasantly surprised after Kintsugi felt like a holding pattern, this song has a clear, strong melody, and the repetition of the song’s title gives the music a vertiginous quality that keeps me a little off balance every time I listen to it.

Joy Oladokun – Sober. There’s almost nothing available about Oladokun, who calls herself a “soul singer from L.A.” and has released four songs to date but no album or EP. I’m calling it right now that someone will compare her to Tracy Chapman, for obvious if unfortunate reasons. She’s here because the chorus of this song is among the most memorable earworms I’ve heard this year and I think her voice, both literal and figurative, is incredibly distinctive.

HAERTS – New Compassion. HAERTS’ debut album came out in 2014, and since then we’ve had a handful of isolated singles, only one of which (“Animal”) was really up to the standard of their first full-length, so this powerful showcase of lead singer Nini Fabi’s voice is a welcome return for the group, now just a duo after two members left in 2015.

Stars – One Day Left. It’ll be hard for Stars to top their 2012 song “Hold On When You Get Love and Let Go When You Get It” for me, but this is their best song since then.

ZURICH – My Protocol. A big, bombastic vocal over a raw Matthew Sweet-esque guitar riff. I imagine the singer preening around the stage while he sings this even as the drums fill the room with sound.

Thrice – The Grey. Obligatory, but man do I love that minor-key guitar riff that opens up this song.

Iceage – Hurrah. I’m not a huge Iceage fan, although I think I fit their profile; this was the only song off the Danish punk-lite band’s latest album, Beyondless, that had a distinctive hook to it, reminiscent of the old Swedish act The Soundtrack of Our Lives.

Snail Mail – Golden Dream. Lindsey Jordan, just 19 years old, records as Snail Mail, and her debut album, Lush, is a surprisingly mature slice of jangle-pop, by turns delicate and potent. Her vocal style is an acquired taste, though.

St. Lucia – A Brighter Love. I thought St. Lucia’s debut album was one of the best records of the decade, but his follow-up had one great song, “Dancing on Glass,” with a lot of filler behind it. This feels promising, with a solid hook, more of the R&B flourishes that punctuated his first LP, but also a slightly more modern sound than the last record showed.

Interpol – The Rover. You pretty much know what you’re getting here, although I think the guitar riff at the opener, which appears throughout the song, gives it a poppier and brighter vibe than most Interpol songs feature.

Jealous of the Birds – Plastic Skeletons. Belfast’s Naomi Hamilton, who records as Jealous of the Birds, returns with this lead single from her upcoming EP, with a hypnotic vocal melody, thoughtful and clever lyrics, and a banging riff in the chorus.

Wild Nothing – Letting Go. This would fit well on Wild Nothing’s 2012 album Nocturne, which is a compliment after his derivative 2016 follow-up Life of Pause.

Sink Ya Teeth – Substitutes. Dark electronica from a female duo out of Norwich, with a bass-and-drum line reminiscent of early New Order. Their self-titled debut album came out on Friday.

The Charlatans – Standing Alone. I still love the Charlatans’ early output, but they fell off hard around 2001’s Wonderland and have never quite recovered their earlier verve. This track, from the four-track EP Totally Eclipsing, hints at their peak sound but never quite gets there for me.

Lokoy – Malibu. Lokoy is the bassist for Sløtface, who had one of my favorite albums of 2017, but this track – with a vocal from Norwegian teenager Girl in Red – is nothing like his regular band’s punk-pop styling, instead going trip-hoppy like early Gorillaz.

At Pavillon – Stop This War. I thought this was a Bloc Party track at first, between the music and the vocalist’s similarity to Kele Okerere. It’s a promising debut for the Austrian quartet (and, yes, their lead singer is black).

Beth Orton & the Chemical Brothers – I Never Asked To Be Your Mountain. I can’t believe “Stolen Car,” Orton’s biggest hit and one of my favorite songs of the 1990s, will be 20 years old in February. She still sounds great on this collaboration with the Chemical Brothers, with whom she first worked in 1995 on the electronic duo’s album Exit Planet Dust.

Indian Askin – BEAT24. This Dutch quartet put out a new single, “I Feel Something,” on June 1st, but I prefer what is essentially the B-side, “BEAT24,” for its driving guitar riff and an overall vibe that reminds me of Beck’s Mellow Gold.

Black Honey – I Only Hurt the Ones I Love. This British alternative quartet hasn’t really missed with any of their singles so far, and just announced their debut album, called Black Honey, will drop on September 21st.

The Joy Formidable – Dance of the Lotus. The Welsh alternative band has put out two singles already – this one and “The Wrong Side” – in advance of their latest album, Aaarth, due out September 28th.

Wooden Shjips – Golden Flower. I think at this point if I haven’t sold you on Wooden Shjips’ noodling art rock, I’m probably never going to.

Here Lies Man – That Much Closer To Nothing. All media coverage of this trio refer to their sound as “afrobeat stoner metal,” although I feel like it’s ’70s psychedelic metal with a heavy funk influence. I’m also not entirely sure what afrobeat music sounds like. This song is good, though.

Motorowl – Atlas. Motorowl’s members are in their early 20s but their sound is very 1970s, blending Sabbath/Candlemass doom elements with some faster and heavier riffing. This is the lead single from their second album, also called Atlas, due out on July 27th.

The Skull – The Endless Road Turns Dark. Fans of the 1980s/1990s doom metal and later gothic hard rock act Trouble should recognize the voice of Eric Wagner, who founded The Skull in 2012 with two former members of his earlier band. The sound is very similar to Trouble’s first two albums, Psalm 9 and The Skull, before they signed with Def American and pivoted towards more mainstream hard rock.

Leprous – Golden Prayers. Despite their name, Leprous aren’t a death-metal or goregrind act – they’re an avant-garde metal act from Norway who probably have more in common with King Crimson than King Diamond, using unusual time signatures and progressive elements along with traditional vocals that even feature harmonies. They just released a new album last August, but this surprise single appears to be a one-off for now.

Zeal & Ardor – Built On Ashes (short version). Zeal & Ardor is the brainchild of Manuel Gagneux, who decided to try to fuse Negro spiritual vocals and harmonies with the sort of fuzzed-out death metal recently popularized by Deafheaven. I also recommend “Servants” from Z&A’s latest album, Stranger Fruit.

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→ June 1, 2018
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Music update, May 2018.

I went a little overboard this month and decided not to edit it down as much as I usually do, because of the time crunch with the draft coming up. So I give you 28 songs from the pop, alternative, hip hop, and metal worlds. You can also access the Spotify playlist here.

Lemaitre featuring Betty Who – Rocket Girl. An early candidate for song of the year, certainly my song of the year so far, powered by a soaring, anthemic vocal from Ms. Who.

Jungle – Happy Man. A welcome return from the British R&B collective behind 2014’s “Busy Earnin,” a top 20 song for me that year.

Childish Gambino – This Is America. I’ve never been much for Donald Glover’s music, which I thought showed his inexperience in that realm, but this song is truly catchy, makes a serious point in its sparse lyrics, and of course has come with a provocative video addressing gun violence in America.

Young Fathers – Toy. I linked to this song’s video a few weeks but had never put it on a playlist. This Mercury Prize-winning hip-hop trio has a unique sound that combines musical influences from two members’ African roots, American trap music, and more frenetic European EDM sounds.

Kid Astray – Can’t Stop. More pop goodness from this Norwegian quintet, although I was disappointed to learn that keyboardist and sometime vocalist Elizabeth Wu left the group at some point in the last two years.

Artificial Pleasure – I Need Something More. I could do without the 30-second intro, but after that there’s a droning, throwback new-wave sort of guitar riff that powers the rest of this song from their debut album The Bitter End.

Hinds – Tester. Maybe my favorite track yet from this Barcelona quartet, who always sound like they recorded their vocals in a tin can and as if they have never done anything so fun in their lives as recording music.

Black Honey – Bad Friends. I’m hoping this darker single presages a full-length release from Black Honey, who’ve dotted my top 100 lists the last two years.

Wye Oak – Join. A little Lord Huron, a little Cocteau Twins, maybe even a little Beach House (but with a stronger melody). This is from the duo’s new album The Louder I Call, The Faster It Runs.

Hatchie – Bad Guy. I think I’ve now put four of the five song’s from Hatchie’s EP Sugar and Spice on monthly or annual playlists, ebecause she’s fantastic.

bülow – Not A Love Song. Megan Bülow is a teenager from the Netherlands with a heck of a pop sensibility; this track comes from an EP she first released in Europe in late November. She doesn’t seem old enough to pack this many musical influences into one track.

Courtney Barnett – Charity. Barnett’s second solo album Tell Me How You Really Feel dropped two weeks ago and is very similar to her first album (and, fortunately, not at all similar to the record she made with Kurt Vile).

CLOVES – Wasted Time. I think it’s clear at this point that CLOVES could sing an instruction manual for a toaster oven and I’d put it on a playlist.

Cœur de Pirate – Malade. From the Quebecois singer-songwriter’s new album en cas de tempête, ce jardin sera fermé, which dropped today. The entire record is in French, unlike her previous full-length, and has a broad mix of more upbeat dance tracks like “Prémonition,” some ethereal piano ballads like “Somnambule,” and in-betweeners like this.

Okkervil River – Love Somebody. I didn’t care for most of OR’s new album, In the Rainbow Rain, in large part because Will Sheff just isn’t a very good singer, but goes beyond his range in the intros to so many tracks here. This is the best song on the record and builds very nicely to a second movement (starting around 1:40) that showcases the best of Sheff’s songwriting both in music and lyrics.

Mourn – Fun at the Geysers. The ‘other’ great young band from Barcelona also put out a new song this month, with better production value and a bit more punk rock to their vibe, as with

The Charlatans – Totally Eclipsing. The track is just fair, but the Charlatans (sometimes called Charlatans UK here) are one of my favorite bands from the 1990s, so anything they produce gets consideration for a playlist here.

Sea Girls – Too Much Fun. Radio 1 tabbed Sea Girls a band to watch for 2018, and this song, from their forthcoming EP Adored, has that potentially anthemic chorus offset by an understated vocal in the verses.

Drenge – This Dance. I loved their first album (my #4 album of 2013), didn’t like the sonic shift on their second record, and am glad to hear this song sounds much more like their debut record.

Great News – Sleep It Off. A Norwegian trio who call their music “daze-pop,” Great News were among the big hits at last month’s Great Escape music festival in London.

Vast – She Is Murder. I lost track of Vast (or V.A.S.T.) aeons ago; their song “Touched” was one of the songs I played repeatedly while I was in grad school, but I had no idea Jon Crosby was still recording under this name. Their eighth album is due this summer.

The Get Up Kids – Better This Way. Emo/indie artists the Get Up Kids, not to be confused with the geddup noise, are set to release their first album in seven years and just their second since their breakup in 2005.

Wooden Shjips – Eclipse. Wooden Shjips’ latest album, just titled V., dropped on May 25th, and it’s only seven songs long because six of the tracks clock in between five and eight minutes. There’s a lot of spacey guitar noodling here, but that’s kind of my cup of tea, innit?

Bilk – Spiked. These guys are very British, very post-punk in sound, and very, very young.

Winger – Dance Macabre. I’m shocked to hear these glam-metal stalwarts, who sort of became the poster child for the hairspray excesses of the era, come back with a … wait, this is Ghost? And the song isn’t 30 years old? Never mind.

Lucifer – California Son. Lucifer is the new project from Johanna Sadonis, who was the lead singer for the one-album project The Oath, who broke up before their record was even released. It’s a deep throwback to the kind of 1970s British metal that I absolutely adore.

Pallbearer – Dropout. The dominant doom metal band recording today, Pallbearer just released this one-off single as they headed out on tour to support last year’s Heartless.

Amorphis – The Bee. This Finnish progressive/melodic death metal band has been recording for 25 years now, and just released their 13th album, Queen of Time, two weeks ago.

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→ May 12, 2018
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Stick to baseball, 5/12/18.

This week brought the return of the redraft columns, where I go back ten years and ‘redraft’ the first round with full hindsight. This year’s edition redrafted the first round of 2008, led by Buster Posey and with several guys taken after the tenth round (one in the 42nd!) making the final 30; as well as an accompanying look at the 20 first-rounders who didn’t pan out. Both are Insider pieces, as is my column of scouting notes on Yankees, Phillies, Nats, and Royals prospects.

My review of the new Civilization board game is up at Paste this week. Civilization: A New Dawn takes the theme of the legendary Sid Meier video game franchise and simplifies it to play in about an hour to an hour and a half, but I felt like some of the better world-building aspects were lost in the streamlining.

Smart Baseball is now out in paperback! I’ll be at DC’s famed bookstore Politics & Prose on July 14th to flaunt the fruits of noble birth and, perhaps, sign copies of the book. I’m also working on a signing in greater Boston for later that month, so stay tuned for details. Also, please consider signing up for my free email newsletter.

I also wanted to mention a few new baseball books by folks I know that have come out in the last six weeks: Russell Carleton’s The Shift: The Next Evolution in Baseball Thinking, which I think goes well with my own book without covering much of the same ground; and two books on the Dodgers, Michael Schiavone’s The Dodgers: 60 Years in Los Angeles and Jon Weisman’s Brothers in Arms: Koufax, Kershaw, and the Dodgers’ Extraordinary Pitching Tradition, even though Jon liked the movie Moneyball and therefore was wrong about it.

And now, the links…

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→ May 11, 2018
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Not Dead Yet.

I came of age as a music fan right around 1980, thanks in part to some of those old K-Tel pop hits collections (on vinyl!) that my parents bought me as gifts, one of which included Genesis’ hit “Abacab.” I loved the song right away, despite having no idea what it was about (still don’t), and it made me a quick fan of Genesis, and, by extension, Phil Collins’ solo material, which at that point already included “In the Air Tonight.” I’d say I continued as a fan of both until the early 1990s, when Genesis released their self-immolating We Can’t Dance (an atrocious, boring pop record) and Collins’ own solo work became similarly formulaic and dull. It was only well after the fact that I heard any of the first phase of Genesis, where Peter Gabriel was still in the band and their music was progressive art rock that featured adventurous writing and technical proficiency.

Collins’ memoir, Not Dead Yet, details the history of the band through his eyes as well as a look at his solo career and his tangled personal life, some of which made tabloid headlines, leading up to his inadvertent effort at drinking himself to death just a few years ago. The book seems open about many aspects of Collins’ life, including mistreatment of his three wives and his children (mostly by choosing work over his familial duties) and his refusal to accept that he had a substance-abuse problem, but there’s also a strain of self-justification for much of his behavior that I found offputting.

From a narrative sense, the book’s high point is too close to the beginning: When Collins was just starting out in the English music scene, his path intersected with numerous musicians who’d later become superstars and some of whom would be his friends and/or writing partners later in life, including Eric Clapton, Robert Plant, and George Harrison. The Sing Street-ish feel to those chapters is so charming I wondered how much was really accurate, but Collins does at least depict himself as a star struck kid encountering some of his heroes while he’s still learning his craft as a drummer. I also didn’t know Collins was a child actor, even taking a few significant stage roles in London, before his voice broke and he switched to music as a full-time vocation.

The Genesis chapters feel a little Behind the Music, but they’re fairly cordial overall – Collins doesn’t dish on his ex-mates and if anything seems at pains to depict Gabriel as a good bandmate and friend whose vision happened to grow beyond what the band was willing or able to achieve. It’s the stuff on Collins’ personal life that really starts to grate: He talks about being a terrible husband and father, but there’s enough equivocation in his writing (often quite erudite, even though he didn’t finish high school) to suggest that he isn’t taking full responsibility for his actions. He cheated on two wives, he ignored their wishes that he devote more time to his family, and he seems to have harassed the woman half his age (he was 44, she 22) who became his third wife and mother of the last two of his five kids.

It’s also hard to reconcile Collins’ comments on his own songwriting, both on solo records and in later word for Disney films and Broadway shows, with the inferior quality of most of his lyrics. Collins’ strengths were his voice, his sense of melody, and of course his work on the drums. His lyrics often left a lot to be desired, and their quality, never high, merely declined as he became more popular. Even his last #1 song in the U.S., “Another Day in Paradise,” is a mawkish take on the same subject covered more sensitively in “The Way It Is” and a dozen other songs on visible poverty in a developed, wealthy economy.

Since that’s all I have to say on the book, I’ll tell one random Collins-related story. When I was in high school, MTV briefly had an afternoon show called the Heavy Metal Half-Hour, which they later retitled the Hard 30. It was hair metal, so not really very heavy by an objective standard, but harder rock than what they played the rest of the time. One day during the Hard 30 run, they played … Phil Collins’ cover of “You Can’t Hurry Love.” I’m convinced this wasn’t an accident, but a test to see if anyone was watching. The show was cancelled a few weeks later.

Next up: I’m about halfway through Peter Carey’s Booker Prize-winning novel Oscar and Lucinda, later turned into a movie with a very young Voldemort and Queen Elizabeth.

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→ May 4, 2018
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Music update, April 2018.

This month’s playlist is a little shorter than the last few because I’ve been traveling so much the last few weeks, but that should slow down now as we approach the draft, so I’ll get to spend more time hunting down new tracks. I’ve also broken with tradition and opened this month’s playlist with a metal track, although after that it’s back to normal, with two more metal tracks at the end. As always, you can access the Spotify playlist directly here if you can’t see the widget below.

Ghost — Rats. Ghost’s marketing shtick is that they’re a black metal band from Norway (of course) and no one knows the band members’ identities. The black metal stuff is stupid, the identity thing is tired, but they have turned out to be a rather adept creator of new heavy metal tracks that sound very much like peak New Wave of British Heavy Metal artists like Iron Maiden or Judas Priest. Some of their songs have gone too far with the Satanic theme – which feels to me like patronizing the audience – but this one is just a straight-up rocker.

DMA’s — Break Me. The Aussie band’s early Britpop vibe, still more Oasis than Blur, continues throughout their new album For Now.

Hatchie — Sugar & Spice. The first of two songs from this Australian singer/songwriter/multi-instrumentalist on this playlist, although both of them have the same early Cranberries-meet-shoegaze vibe. Harriette Pilbeam doesn’t have Dolores O’Riordan’s pipes but she has the late Irish band’s sense of melody.

Ring the Bells — Johnnyswim with Drew Holcomb & the Neighbors. Johnnyswim is a folk duo from Nashville comprising Donna Summer’s daughter Amanda Sudano and Sudano’s husband Abner Ramirez. I freely admit I’d never heard them before this song, which is a sort of folk-rock banger, if there is such a thing.

Cœur de Pirate — Somnambule. I just adore Béatrice Martin’s voice, so I’m going to tell people she’s my girlfriend, and when they ask why she isn’t here with me, I can truthfully tell them, “She lives in Canada.”

Janelle Monáe featuring Grimes — Pynk. I’m still unpacking Dirty Computer, Monáe’s new album; so much of her music seems to demand repeated listens to pick up all her ideas. This isn’t as good as “Venus Fly,” the collaboration between these two women on Grimes’ Art Angels, but it’s a totally different kind of song, and there’s a lot of very suggestive wordplay here that wasn’t there on the Grimes-led track.

Hundred Waters — Mushroom Cloud. This spare, devastating new single from the Gainesville, Florida trio comes amidst rumors that the band might be breaking up, but it finds singer Nicole Miglis at her soaring, commanding best.

Snail Mail — Heat Wave. The second solid single from the Baltimore singer/guitarist starts slow, literally and figuratively, but wait for the guitar to come in before you pass judgment.

Wooden Shjips — Red Line. This San Francisco band, who always sound like they’re midway through a set at Altamont, just released this lead single from their forthcoming album V, their first new music in five years. All hail the Hammond organ.

Courtney Barnett — City Looks Pretty. I’m on record as preferring Barnett’s material when she picks up the tempo; her lyrics are always strong, but because her vocal style is kind of flat and talky by design, it doesn’t meld well with slower tracks. This one moves at a quick enough pace to work with her laconic singing.

Gang of Four — Ivanka (Things You Can’t Have). Gang of Four have always been political, but this has to be their most direct attack on a target in … ever? Of course, Go4 aren’t what they used to be, in a literal sense: guitarist and primary songwriter Andy Gill is the only one of the original Gang still in the band, and their sound is a lot more modern and less post-punk than it once was. It does still work, though, and Gill’s righteous anger is well-placed on this EP, titled Complicit.

Soft Science — Undone. This Sacramento outfit calls itself a dream-pop/shoegaze act, so it’s not surprising that this song’s main riff is at least similar to My Bloody Valentine’s “I Only Said,” from Loveless, long considered one of the seminal records of the shoegaze movement. At least here I can understand what the singer is saying, though.

Hatchie — Sleep. Pilbeam’s accent comes through a bit more here, but what really draws me to this track is the staccato, off-beat percussion.

Kid Astray — Are You Here? I wonder if this Norwegian outfit is just too weird to get much airplay here, but it’s a shame – they continue to churn out great hooks and there really isn’t anyone else who sounds like them at all. This five-minute track seems to keep folding in on itself and back out again into new shapes, like a musical hexaflexagon.

Speedy Ortiz — Buck Me Off. The lead track from the group’s third album, Twerp Verse, which I can say off one listen so far is really damn good.

Lord Huron — Never Ever. Huron’s new album, Vide Noir, feels like a big step forward, as they were caught in purgatory between folk-lite bands like Mumford & Sons and the rock mainstream, where bands like the Avett Brothers draw on folk but aren’t afraid to air it out a little. This record definitely airs it out, as on this track and on the two-part “Ancient Names.”

Johnny Marr — The Tracers. While Moz continues to milkshake duck himself with racist and bigoted commentary, Johnny Marr keeps making guitar-driven alternative rock, less charming than Smiths material but still bringing the hooks.

Lizzy Borden — My Midnight Things. File this one under “I had no idea this band was still recording and has been for the last thirty years.” I know Lizzy Borden (the band) from its occasional appearances on MTV’s Headbanger’s Ball, which was always a little light on the head banging and heavy on the hair metal. The original singer, who has always gone by the name Lizzy Borden, and drummer are still in the band, and I don’t think their sound has changed that much from what I remember of their 1980s output. This wouldn’t be out of place on a reboot of the aforementioned TV show.

Khemmis — Isolation. Desolation, the third album from this Colorado heavy metal outfit, arrives June 22nd; they have elements of doom, but this track is positively uptempo for that genre, and I appreciate the totally clean vocals in a space that generally looks down on guys who can actually sing.

League of Starz ft. Freddy Gibbs, G Perico, & Mozzy — Colors. A collaborative rap track dominated by Gibbs’ verse, as he’s one of the few MCs today whose style and technical skill rival the stars of the Golden Age of Hip-Hop.

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