→ October 2, 2022
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Music update, September 2022.

Lots of new music in September … but not a lot of great music, I think, even with two extremely strong new albums and a couple of others of note. As always, you can see the Spotify playlist here if you can’t see the widget below.

Kid Kapichi – Super Soaker. Two of my favorite albums of 2022 so far came out in September, including Kid Kapichi’s second album in the last 18 months, Here’s What You Could Have Won, which carries forward the harder-edged rock with Alex Turner-like lyrics but expands their musical palate somewhat, such as adding a guest appearance from Bob Vylan.

The Beths – When You Know You Know. And then there’s The Beths’ third album, Expert in a Dying Field, their best one yet, with more uptempo songs and a more consistent musical throughline over the entire album.

White Lies – Trouble in America. A tremendous track from the bonus edition of As I Try Not to Fall Apart, frankly a better song than several that did make the original LP.

Sports Team – Dig! Another banger from Sports Team, but unusual for them in that the vocals are far more conventional, and clearly play second fiddle to the driving guitar work.

Sprints – Literary Mind. These Dublin punks go a little more pop here, without losing any of their usual intensity, in what I think is their longest song yet.

Courtney Barnett – Words and Guitar. A cover of the Sleater-Kinney song from an upcoming album of covers of the band’s 1997 album Dig Me Out.

John-Allison Weiss – Different Now. This is the first new music from Weiss, who has previously recorded as A.W., since 2017’s “Runaway,” although their indie-pop sound is quite similar even after the five-year hiatus.

Editors – Vibe. Editors just released their seventh album, EBM, their first with Blanck Mass (Benjamin John Power) as a full-time member. The sound across the album is similar to what they’ve shown since their big stylistic shift around 2009-10 to something more electro-noir, with a heavy New Order influence. I also really liked “Karma Climb,” the first single from the record; and “Kiss,” which is great in the sub-4 minute single version but wears out its welcome at 8 minutes on the album.

The Fashion Weak feat. Gruff Rhys – Welsh Words. The debut single from a new Welsh band, with help from Super Furry Animals lead singer Rhys, with hilarious lyrics about songwriting advice from Joan Didion.

Freddie Gibbs feat. Moneybagg Yo – Too Much. Gibbs might be the best active rapper going, certainly in terms of flow and delivery, and just dropped his fifth album, the expansive $oul $old $eparately, on Friday. “Dark Hearted” and “Space Rabbit” are also highlights.

Phoenix feat. Ezra Koenig – Tonight. I like this song despite the intrusion of Vampire Weekend (via Koenig, their twee-voiced lead singer and songwriter).

Jamie xx – KILL DEM. The second new single this year from Jamie xx, whose In Colour was one of the best albums of 2015 and provided two standout tracks of the entire decade in “Loud Places” and “See Saw,” but who hasn’t put out another LP since. His solo work is electronica, but he’s also one of three members of the indie band the xx.

Quicksand – Giving the Past Away. A muscular new track from these post-hardcore icons, left over from the sessions for last year’s album Distant Populations.

Palm – On the Sly. A Philly art-rock outfit that’s been around for a decade, Palm just crossed my radar this month with this new track reminiscent of some of Battles’ better work.

WITCH – Waile. WITCH are legends of Zamrock, a musical style from the sub-Saharan country of Zambia that emerged in the 1970s, and were active from 1972-1984, by the end of which they’d moved away from rock and towards disco. This is a new recording of a song they played live in their heyday but never committed to wax. With the crossover success of Mdou Moctar, I could see WITCH (which stands for We Intend to Cause Havoc!) finding a new audience as they continue to tour.

Wheel – Blood Drinker. I’m a big fan of this Finnish prog-metal outfit, whether it’s their ten-minute, multi-section tracks or tighter radio-friendly ones like this one, primarily because of their guitarwork, both the sound itself and the intricacy of some of their guitar lines. This is the advance single from their upcoming EP Rumination, which follows last year’s full-length album Resident Human.

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→ July 4, 2022
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Music update, June 2022.

We have a bunch of comebacks this month, with bands I liked once upon a time returning either in reality or just to my radar because they put out something great in June. You can access the playlist here if you can’t see the Spotify widget below.

Editors – Karma Climb. This is the best New Order song in 21 years. (Editors are not New Order, and this is the second single ahead of their seventh album, EBM, due out in September.)

The Beths – Silence is Golden. The Beths have had some great tracks over their four years of releasing music, with a lot of punk influences in their power-pop formula, but the music here is as close to straight metal as they’ve ever veered – and it works.

Talk Show – Cold House. Talk Show gets labeled as post-punk, or new wave punk, but their music is more darkwave with far less of a punk influence than any of the reviews.

Jungle – GOOD TIMES. Jungle’s already back with a two-track single less than a year after Loving in Stereo dropped, with this the better (and more uptempo) of the two songs.

Automatic – Skyscraper. Now this is post-punk new wave.Automatic was new to me before this track, although their newest album, Excess, was their sophomore release.

Queen Colobus – Think Fast. Welsh vocalist/saxophonist Beth Hopkins leads Queen Colobus, mixing jazz with indie/alternative rock, as if Dry Cleaning or Yard Act merged with Sons of Kemet.

CVC – Docking the Pay. Another Welsh band – I swear this is a coincidence – CVC might be most notable for wiping all their old music from streaming platforms, so right now all there is from them are two songs, this and “Winston.” This new single combines an electronic beat that reminds me of a HAERTS track with vocals that might be from a drinking song.

Inhaler – These Are the Days. Bono’s son – I guess at some point I should stop calling him that – and his band keep churning out solid alt-rock singles.

The Aces – Girls Make Me Wanna Die. I’d lost track of Aces after their first single, “Stuck,” made my top songs of 2016 playlist, because I didn’t find the debut album as catchy, but this has that same pop energy with better production values.

Sløtface – Come hell or whatever. Sløtface has gone from a band to a one-woman operation, with singer/songwriter Haley Shea the only remaining member, and this the first new single from her as the new Sløtface.

Bartees Strange – Wretched. Strange’s second album, Farm to Table, is a big step forward, expanding his repertoire of genres and reducing the influence of the National on his overall sound.

Preoccupations – Ricochet. A welcome return for these Canadian post-punks, whose fourth album, Arrangements, is due out in September.

Kid Kapichi – Rob the Supermarket. Kid Kapichi had two singles this month, this rocker, which could fit very well on their debut album This Time Next Year, and the extra-biting acoustic track “Party at Number 10,” the subject of which should be quite evident.

beabadoobee – 10:36. Beabadoobee does Sunflower Bean? This is a delightfully sunny pop track, leading into her second album, Beatopia, due out on July 15th.

FKA twigs – killer. Yet another new track from FKA twigs, separate from her Caprisongs mixtape, and I think more in line with the music from magdalena. “It’s dangerous to be a woman in love” can have so many meanings here.

Dry Cleaning – Don’t Press Me. I don’t love Dry Cleaning’s flat and very forward-produced vocals, but they get this great Wire/Magazine vibe when they let it rip, as they do on this lead single from their sophomore album, Stumpwork, due out in October.

Christine and the Queens – Je te vois enfin. This is the first new track from Christine and the Queens since last fall, and introduces the “Redcar” persona, although whether that means anything for the music remains to be seen. It’s in a similar musical vein to “I disappear in your arms,” one of my favorite tracks of 2020.

Kiwi jr. – Unspeakable Things. Man that organ riff with its one chromatic tone is pretty great, harkening back to the brief moment in the mid-aughts when emo was listenable.

La Luz – San Fernando Shadow Blues. I assume this is the theme to the next James Bond movie, which will star the as-yet unnamed actor skeet-surfing in the opening scenes to save the planet.

Porcupine Tree – Rats Return. Closure/Continuation marks Porcupine Tree’s return after a 13-year absence from recording, including this heavy, Rush-like rocker and last year’s single “Harridan.”

Soilwork – Nous Sommes la Guerre. New prog metal from a Swedish band I typically associate with more extreme sounds, but here we get only clean vocals and a very melodic synth line driving the track.

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→ April 4, 2022
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Music update, March 2022.

Another strong month for new music, enough that I ended up cutting a few tracks – any time I do that I feel like it means the standard to make the playlist is getting higher. You can access it here if you can’t see the widget below.

Blossoms – Ode to NYC. I’d heard Blossoms before, but not much of their music, and nothing grabbed me like the two singles they released in March from their upcoming album, Ribbon Around the Bomb, have. “Ode to NYC” is like a mad scientist selected the best genes from Lord Huron and The Head and the Heart and made a new creature into this song. It’s also kind of amazing to me that a British band can so effortlessly co-opt the American indie-folk sound.

Riverby – Chapel. The vocals here from August Greenberg are stunning, on what is by far the best track on this emo-punk band’s latest album, Absolution. Just make the whole record out of this.

Hatchie – Lights On. This Australiandream-pop singer/songwriter is about to release her second full-length album, Giving the World Away, on April 22nd, featuring this track, “Quicksand,” and the solid title track.

HAIM – Lost Track. I have never cared for HAIM’s sort of inoffensive soft-pop, despite their acclaim from other musicians, many of whose music I liked. This is the first song by theirs I’ve really liked, as it doesn’t try to do much at all – there’s a good hook in the chorus, some nice counterpoint in the vocals, and it’s over in under two and a half minutes.

Soccer Mommy – Shotgun. Another artist I’ve never been able to get into, Soccer Mommy announced her third album, Sometimes, Forever, will drop on June 24th, with this lead single boasting a great hook in the pre-chorus line “Whenever you want me…”

Greentea Peng – Your Mind. Peng has shown an experimental bent since the start of her career, but she’s widening her musical template even further with this single, which leans further into jazz and if anything de-emphasizes her vocals in favor of more interesting music.

Elzhi feat. Georgia-Anne Muldrow – Already Gone. Elzhi is a Detroit rapper loosely associated with Danny Brown and the late J Dilla, with a discography that goes back to an EP he released in 1998. I’d never heard anything by him, but he has a strong old-school delivery that reflects those late ’90s roots.

Jack White feat. Q-Tip – Hi-De-Ho. White and Tip worked together on the final ATCQ album in 2016, so the pairing here isn’t surprising, but the song itself is. It’s not just Q-Tip making one of his hundred or so guest appearances, where he never mails it in but also never seems to exert himself that much, and it’s not just White playing a riff or two over and over again. It sounds like an experiment, like two people got in the studio and started messing with several ideas, but decided to release four minutes of that musical exploration even though it doesn’t confirm to expectations of what a single from two experienced, fairly mainstream artists should sound like.

Bartees Strange – Heavy Heart. Strange is a huge fan of the National but his music always sounds to me like a better twist on The Hold Steady.

Band of Horses – Warning Signs. I’d say Things Are Great is much better than Why Are You OK and somewhat better than Mirage Rock but not as good as Cease to Begin. So, if you already like Band of Horses, you should like this album, which for me was a mixed bag but more good than not.

Spiritualized – The Mainline Song. I’ve known about Spiritualized for probably 25 years, at least since Ladies and Gentlemen, We Are Floating in Space, which was widely praised by critics at the time and has only grown in stature since then. Also, it’s hard to believe that that album, OK Computer, and Urban Hymns are all a quarter century old. Anyway, this is a joyous track from Spiritualized that seems to catch them at the top of their game.

Weird Nightmare – Searching for You. Weird Nightmare is Alex Edkins of METZ, and this sounds a lot like METZ, unsurprisingly, although if anything it’s a bit tighter and more accessible.

Blossoms – The Sulking Poet. I haven’t put two songs from one artist on the same playlist in probably five or more years, so it’s a big fucking deal (to me, at least), when I do do it. Like, big enough that I was looking at Blossoms tour dates and debating whether it made sense to go to Lisbon for two days to see them in a music festival.

alt-J – Happier When You’re Gone. I’vegone from the world’s biggest alt-J fan to someone who’d be fine if they never released another album. The ambitious, experimental, meticulous songwriting from their first album, An Awesome Wave, is long gone in favor of more easily digestible and, consequently, more boring alt-pop songs. This track is probably the closest they’ve come at least to the sensibility of the first album since anything on their second record.

Everything Everything – Teletype. Contrast that with Everything Everything, who probably peaked for me with the two tremendous singles off Arc, “Cough Cough” and “Kemosabe,” yet who haven’t stopped trying to innovate, or given up their weirdness to pander to a larger audience. This draws more on electronic music styles than what we’ve heard from them previously, although the next track, “I Want a Love Like This,” goes in a different direction.

Sprints – Delia Smith. Sprints’ new EP, A Modern Job, features a couple of very strong punk-pop tracks that are more punk than pop, including this one, which names one of Britain’s most notable celebrity chefs.

Pillow Queens – Hearts & Minds. This Irish quartet released its new album, Leave the Lights On, on Friday, to positive reviews. There’s definitely an American alt-rock vibe to their music; I saw a comparison to the Killers, which holds if you consider the half of the Killers’ catalogue where they lean into roots and country-rock, like “Dying Breed” or “Lightning Fields” from Imploding the Mirage.

Melody’s Echo Chamber – Personal Message. A new artist to me, Melody Prochet released her first album a decade ago, and continues to make ethereal chamber-pop with a similar vocal style to Hatchie’s.

Arcade Fire – The Lightning II. Arcade Fire released two albums in March, right before Will Butler announced he was leaving the band. “The Lightning I” is a pretentious slog, while this track has more of the big energy that recalls their first two albums.

The Smile – Skrting on the Surface. I assume this supergroup’s album is coming very soon, with three singles released so far; it’s hard not to think of this as pre-Kid A Radiohead given the prominence of Thom Yorke’s voice and Jonny Greenwood’s musical direction, although nothing they’ve put out so far has the same rock vibe as Radiohead’s peak albums Pablo Honey and OK Computer.

Bloc Party – Sex Magik. I will probably forever want Kele & Company to make the next “Banquet,” but I’ll settle for something as frenetic and loud in that post-punk vein. Last year’s “Traps” had it, this mostly has it, while the newest single “If We Get Caught” doesn’t.

beabadoobee – Talk. Beatrice Laus’s second album Beatopia is due out on July 15th, and if this sunny fuzzed-out lead single is an indicator of what’s coming, I’m in.

The Mysterines – Means to Bleed. Lia Metcalfe and company finally released their first full-length album, but it didn’t include some of their best singles to date. Where’s “I Win Every Time?” Or “Gasoline?” Or “Bet Your Pretty Face?” There’s good material here, and Metcalfe’s deep, smoky voice pairs so well with the band’s crunching guitars, but they’ve toned some of the energy down a notch, and I miss their earliest work. I still think they’ve got a chance to be huge.

Drug Church – Fun’s Over. Musicians I know love Drug Church, and this marks the post-hardcore group’s second appearance on one of my playlists; their new album Hygiene is quick and punchy, with short bursts of mid-tempo punk with heavy bottoms and garage-rock production.

Crows – Garden of England. Crows’ debut album Silver Tongues was one of my favorites of 2019, and they just returned with their second LP, Beware Believers, on Friday. Their music is just as loud and angry, blending punk, garage, and thrash on this furious track released just a few weeks before the full record.

Opeth – Width of a Circle. Don’t get too excited – it’s a bonus track on the extended edition of Opeth’s 2019 album In Cauda Venenum. But it’s still new Opeth, and that’s good.

Vio-Lence – Upon their Cross. The lyrics don’t make a ton of sense, but the riffing from these Bay Area thrash pioneers is still good.

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→ December 2, 2021
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Music update, November 2021.

I lowered the bar a little bit this month to make the playlist a more suitable length, as it seemed like the tide of new releases finally slowed up a bit as we approach the end of the year. I’ll post best of 2021 album and song lists later this month, probably the week of the 13th but possibly the week after that, depending on how busy I am with prospect calls. As always, you can find the playlist here if you can’t see the Spotify widget below.

Charli XCX featuring Christine and the Queens & Caroline Polachek – New Shapes. This is hands-down one of the best pop songs I’ve heard this year. I’m not a big Charli XCX fan, but she chose the right collaborators on this track, and each of them gets a distinctive verse to show off their vocal skills.

Bruno Mars and Anderson .Paak – Fly As Me. I didn’t love the Silk Sonic album as much as I expected to, but this song is a perfect mix of ’70s funk and ’80s R&B. Paak sure sounds a lot like Skee-Lo on that second verse, though.

Foals – Wake Me Up. These guys are good for one solid banger every album, but singer/guitarist Yannis Philippakis has promised that the next LP will be more rave-influenced like this track is, so gird your loins.

CHVRCHES – Screaming. The “director’s cut” of Screen Violence adds three more tracks and runs nearly an hour; this is the best of the additional songs.

The War on Drugs – Harmonia’s Dream. I Don’t Live Here Anymore is my favorite TWoD album, and it seems like the critical consensus is that it’s their best. I still think the songs are too long, but that’s just who they are. There’s just more here this time around: stronger melodies, more energy, more prominent drum and bass lines, even some better lead guitar work.

Chime School – Radical Leisure. Chime School is San Francisco musician Andy Pastalaniec, mixing jangle-pop sounds of the 1980s and some elements of Britpop. It’s sunny and bright and takes me back a few decades every time he opens a verse with “Tell me what it’s like…”

Potty Mouth – Not Going Anywhere. An ironic song title for a band that just announced they’re breaking up. At least they’re going out with a few bangers on this final EP.

Gang of Youths – tend the garden. I’ve never heard a band remind me so much of U2 without explicitly sounding like U2. There’s a little something in the singer’s laconic delivery that reminds me of Bono’s quieter moments, but otherwise I can’t pinpoint a specific connection. I’m a fan based on their last few singles.

English Teacher – Good Grief. This Leeds quartet is rather unapologetically English, with that certain style of sing-talked vocals and witty lyrics by lead singer Lily Fontaine. I’m kind of a sucker for bands like this when the lyrics are strong.

The Wombats – Everything I Love Is Going to Die. A bit morbid, I suppose, but this is how Matthew Murphy rolls.

Bob Vylan – GDP. I am not a fan of this kind of artist name, riffing on a more famous musician but changing one letter or sound, but this rap song with metal riffs behind the rhyming is actually pretty strong, and I can’t argue with the sentiment.

Frank Turner – Miranda. This song is based on the true story of Turner’s parent Miranda, who came out as transgender at the age of 72.

Bloc Party – Traps. They’re back – the band’s sixth album, Alpha Games, their first since 2016, is due out in April. “Banquet” is a forever track for me, so anything they do in that vein is right up my alley.

Yard Act – Payday. Yard Act are another of those post-punk sing-talk British bands I just can’t seem to get enough of. It doesn’t hurt when the song beneath the lyrics has a solid groove to it, and the chorus has me shouting along. “We all make the same sound when we’re mowed down” is grim, but rather well sums up our dystopian experience.

Robert Plant & Alison Krauss – It Don’t Bother Me. Plant and Krauss’s second album together, Raise the Roof, came out this month … and it’s kind of tame. I was hoping for more of Krauss’s bluegrass roots to show through, but it’s a muted affair throughout.

Cate Le Bon – Moderation. I’m contractually obligated to put a Welsh artist on the playlist whenever possible. Le Bon’s sixth album, Pompeii, comes out on February 4th. Wikipedia calls her music “baroque pop;” I hear a lot of Roxy Music here.

Aeon Station – Fade. Aeon Station is three-fourths of the indie band the Wrens,butall I hear here is Arcade Fire, in a positive way.

IDLES – The Wheel. Critics love IDLES; I don’t entirely get it. I don’t hear the hooks or the energy I want from a punk band. This song, however, has all of that. I’m in by the end of the first measure.

Tony Iommi – Scent of Dark. The iconic metal guitarist returns with this menacing, instrumental doom track that always sounds like it’s about to turn into a vocal track, like there’s a verse just around the next beat, but instead it sludges forward with Iommi’s trademark detuned riffing. Not bad for a 73-year-old who’s been playing with prosthetic fingertips for a half-century. Iommi’s former band, Jethro Tull, also released a new song this past week, and Ian Anderson’s voice hasn’t held up as well as Iommi’s fret hand.

Porcupine Tree – Harridan. I assumed Porcupine Tree was done, at least as a recording act, but their eleventh album Closure/Continuation comes on next June. It’ll be the prog-rock band’s first record in 12 years. I mostly know of them through their association with Opeth; he co-produced Blackwater Park, which I would probably rank as the best metal album of all time, certainly the best extreme metal album, as well as Deliverance and Damnation, all of which showed Opeth moving in a more progressive musical direction.

Animals as Leaders – The Problem of Other Minds. This instrumental trio’s album The Joy of Motion made my top albums of 2014 list, but they’ve only released one album in the intervening seven years. This track and its B-side Monomyth (are B-sides even really a thing any more? The term seems like an anachronism) are the first from the band’s Parrhesia, due out on March 25th.

Cynic – In a Multiverse Where Atoms Sing. Another band I assumed was through, with co-founder Sean Reinert and longtime bassist Sean Malone dying in 2020, although Reinert had left Cynic in 2015. Anyway, Cynic just released Ascension Codes, its first album in seven years, last week. It’s just their fourth album in over 30 years under the name, with singer-guitarist Paul Masvidal the only remaining founding member.

Mastodon – Sickle and Peace. Hushed and Grim cameout early in November and it’s a mammoth record, running almost an hour and a half, with some incredible guitar work and huge changes in style and tone. I almost went with “Gobblers of Dregs,” but that track is eight and a half minutes long, and I prefer the guitar riff in this song anyway.

Toundra – El Odio, Parte II. One more instrumental metal track to wrap things up this month, this one another monster track from this Spanish metal act, whose sixth album Hex comes out on January 14th.

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→ October 31, 2021
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Music update, October 2021.

Whew, that might be the most loaded month I’ve seen since I started doing monthly new music playlists in January of 2015 – a function, I’m sure, of the easier access to all kinds of music, and perhaps my expanding tastes, but there was just a lot of great fucking music released in October. I omitted plenty of tracks from artists I like, including new material from CHVRCHES, Yard Act, Metronomy, Snail Mail, Frank Turner, Jack White, Shamir, Tom Morello, Soft Cell (!), Robert Plant & Alison Krauss, and more. I also ended up cutting Janelle Monaé’s new version of “Say Her Name,” since it’s 17 minutes long and a new version of an old track from 2013. As always, if you can’t see the widget below, you can access the playlist here.

White Lies – As I Try Not to Fall Apart. Few bands have channeled ’80s new wave as successfully as White Lies, who don’t so much mimic the sound as the entire vibe of those synth-heavy (and heavily made-up) bands from that era that was so formative for my own music tastes. This is easily one of my two or three favorite songs of theirs, right up there with “There Goes Our Love Again.”

Cœur de Pirate – Tu peux crever là-bas. Cœur de Pirate’s latest álbum, Impossible à aimer, is her best full-length LP so far, with some incredible melodies beneath her typically dark, incisive lyrics. This track is the strongest on the album, and for those of you who don’t speak French, it means “you can die over there.”

The Mysterines – Hung Up. This Liverpool group, led by singer/guitarist Lia Metcalfe, will finally get to release their debut album Reeling on March 11th, but in the meantime, here’s another driving, snarling track in the vein of their earlier tracks like “Gasoline” and “I Win Every Time.”

Gang of Youths – the man himself. This Australian indie-rock quintet are running headlong into comparisons with peak U2 with tracks like this one, an atmospheric rocker with introspective lyrics about the death of lead singer Dave Le’aupepe’s father.

The Wombats – Ready for the High. I’m always going to want the Wombats to recreate their incredible no-skips 2015 album Glitterbug, even though I’m sure they want to continue to evolve past that. This is a pretty good twist on that sound, with Matthew Murphy’s typically absurd lyrics and a little more crunch to the guitars. Their sixth album, Fix Yourself, Not the World, is due out on January 7th.

alt-J – U&ME. Speaking of wanting a band to be something else, the version of alt-J from their debut album is long gone, and they’re just another decent indie band now, with a clear commercial leaning they didn’t have a decade ago. But this song is pretty catchy.

Hatchie – Crush. Yep, this is a cover of one-hit wonder Jennifer Paige’s 1998 song, which reached #3 on the Billboard Hot 100, but Hatchie makes it less overtly poppy and more dream-pop.

Courtney Barnett – Write a List of Things to Look Forward To. Definitely one of Barnett’s better guitar riffs, with a tempo that better complements her laconic vocal delivery than some of her slower material. She also released “Smile Real Nice” from the soundtrack to the upcoming Apple+ series Harriet the Spy.

The Districts – I Want to Feel It All. The opening to this track keeps tricking me into thinking it’s Nine Inch Nails’ “Down In It,” which should give you some idea of the change in style here for these indie-rock stalwarts.

The World Is a Beautiful Place & I Am No Longer Afraid to Die – Trouble. Terrible band name, although I suppose it fits their retro-emo sound. This was my favorite track off their latest album Illusory Walls, which reminded me of Pure Reason Revolution’s blend of metal elements into emo tracks.

Speedy Ortiz – Cutco. Sadie Dupuis, who records as a solo artist under the name sad13, re-recorded this early track, from when Speedy Ortiz was primarily a solo project for her, as part of the upcoming double LP The Death of Speedy Ortiz & Cop Kicker…Forever, a joint reissue of their first album and their first EP, both released in 2011.

Sprints – Modern Job. Another strong post-punk track from the Irish group who brought us “The Cheek” last year.

Michael Kiwanuka – Beautiful Life. The first new music since his last album KIWANUKA won the Mercury Prize is this soul/trip-hop track from the upcoming documentary Convergence: Courage in a Crisis.

Sunflower Bean – Baby Don’t Cry. This is Sunflower Bean’s second one-off single in the last two-plus years, since the King of the Dudes EP, with no word on a new album coming, although they do plan a UK tour in the spring.

Hinds – De la Monarquía a la Criptocracia. Maybe this is the step forward I’ve been waiting for Hinds to take, with lyrics that aren’t so much yelled-sung as just sung. Maybe it’s because they’re singing in their native Spanish, although that wouldn’t explain the stronger guitar work, but regardless of the reason, this is an evolutionary step the band needed.

DARGS featuring James Chelliah & Moses Boyd- Hold On, Part 2. DARGS is David Darghi, a producer who’s released just two short tracks so far (and the first was not, in fact, “Hold On, Part 1”). I found this because he worked with drummer Moses Boyd, who had my #1 song of 2020, “Shades of You.” It’s a relaxed, sensual track with vocals from “existential indie” rapper Chelliah and an unnamed female vocalist, which I think is a bit weird.

The Lottery Winners – Much Better. I have no idea how these guys keep churning out one great pop melody after another, but they have another one with the earworm chorus to this new track.

Anxious – In April. If I say punk-pop, you’re probably not thinking of that as a compliment, but this Connecticut five-piece’s sound here is less overproduced or cloying than many bands that earned that moniker.

The Horrors – Against the Blade. The Horrors haven’t released an album since 2017’s V, but they announced their second EP of 2021, also called Against the Blade, featuring this heavy, industrial track.

The Boo Radleys – I’ve Had Enough I’m Out. What a surprise to find out these Britpop stars were still around, although I’ve found a lot of acts from that era can’t recapture the sound that carried them on up the charts in the late 1990s. A lot of the Boo Radleys’ recent tracks are too slow and very light on the pop part, but this one comes the closest. I’ll still choose “Wake Up Boo” and “It’s Lulu” over this, though.

Band of Horses – Crutch. Band of Horses’ sixth album, Things Are Great, their first LP since 2016, will be released on January 21st. This lead single is strong, very jangle-pop, and is their first new material featuring guitarist Ian MacDougall and bassist Matt Gentling.

The War on Drugs – Change. Yes, it’s too long – six minutes and four seconds – but this is two straight tracks from The War on Drugs that feature a cohesive hook rather than more of a general vibe, which is how I’d describe a lot of their earlier material.

Lemaitre feat. Anna of the North – What About U. This is definitely Lemaitre’s best track since 2019’s “Rocket Girl,” featuring Betty Who, here going for a more ethereal, softer sound that works with Anna Lotterud’s voice.

Defcon Lawless feat. Band of Skulls – Slicktalk. I know nothing about Defcon Lawless, but have liked a lot of Band of Skulls’ music in the past, especially 2014’s Himalayan, and the psycheledic-rock backdrop they contribute here behind Defcon Lawless’ rhymes makes this something very different from most modern rap tracks.

Parquet Courts – Walking at a Downtown Pace. I have never liked anything by Parquet Courts before this new album, Sympathy for Life, but there are at least three bangers on this record. It seems like they settled down and worked on songcraft without totally compromising their garage-rock sound.

Potty Mouth – Contessa Barefoot. I don’t get the song’s title, but I’m glad Potty Mouth is back with their power-pop sound, although this doesn’t have quite the killer hook of “Cherry Picking.” UPDATE: A reader pointed out that Potty Mouth announced their breakup this week. This song will be on their final EP, 1% Happier, due out November 19.

Geese – Rain Dance. This Brooklyn quintet’s debut album, Projector, just dropped this month, barely a year after the members graduated from high school. Guitarist Foster Hudson cites Television’s debut album as a major influence, which is very evident across the album, but if you want a contemporary comparison, imagine black midi with less of the noise-rock trappings. Other standout tracks include “Low Era” and “Disco.”

Spoon – The Hardest Cut. I’d say this is the hardest Spoon song I’ve heard, but I’m good with that.

Mastodon – Teardrinker. Hushed and Grim just dropped on Friday and I haven’t gotten to listen to it all the way through yet, but I’ve loved this, “Pushing the Tides,” and “Savage Lands” so far.

Zeal & Ardor – Götterdämmerung. The death growls are back, but so are the great metal riffs, including a pedal-point riff here that really drives this song forward. This gospel/death metal band’s next album is due at some point next year.

Kowloon Walled City – Lampblack. Featuring Ian Miller of Puig Destroyer and the Productive Outs podcast on bass, KWC just released Piecework, their first new album since 2015, on October 8th.

Kælen Mikla feat. Alcest – Hvítir Sandar. I’m interested in this Icelandic goth/avant-garde trio’s music thanks to the guest appearance here by shoegaze-metallers Alcest, whose last two albums were among my favorite metal LPs of the past decade.

Toundra – El Odio, Parte I. An eight-minute instrumental from this Spanish progressive metal band, which only does instrumental music, and a preview of their upcoming album Hex.

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→ September 2, 2021
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Music update, August 2021.

August finished with quite a bang for new music, so this playlist more than doubled in length in the last week, but I’ll take this as a great sign for how we’ll finish a year that has seemed a little flat for new music. Perhaps the imminent fall/winter tours are driving all this new music coming out. Anyway, if you can’t see the widget below, you can access the Spotify playlist here.

Robert Plant & Alison Krauss – Can’t Let Go. Fourteen years after their hugely acclaimed collaboration Raising Sand, which won six Grammy Awards, Plant and Krauss have reunited for a follow-up, Raise the Roof, due out on November 19th. This track, written by Randy Weeks and previously recorded by Lucinda Williams, is a hell of a lead single. It’s just about perfect.

Jungle – Truth. Jungle’s third album, Loving in Stereo, has a few bangers, including this, “All of the Time,” and “Keep Moving,” and some slower tracks that don’t do it for me. Jungle’s best work makes you want to dance. I want more of this.

CHVRCHES – Final Girl. CHVRCHES’ fourth album, Screen Violence, is a real return to form for the trio after the disappointing Love is Dead, with stronger lyrics and better hooks, as well as real guitars. This, “How Not to Drown,” and “Good Girls” are the highlights for me.

The Wombats – If You Ever Leave, I’m Coming With You. Now that’s more like it – this feels almost Glitterbug-esque, from the big hooks to the delightfully absurd lyrics. Their fifth album, Fix Yourself, Not the World, drops on January 7th.

Geese – Low Era. Geese announced their debut album, Projector, will drop on October 29th, including this track and their first single “Disco.” The Brooklyn quintet’s second track is slower, more dissonant, but still kind of intoxicating. I get black midi and alt-J vibes from them, which could cut both ways, but for now I’m excited for the album.

Kid Kapichi – American Scream. Kid Kapichi’s This Time Next Year is one of my favorite albums of 2021, and the deluxe version, which comes out on October 29th, will include four unreleased tracks, including this one.

Purity Ring – soshy. It’s written as one word but Megan James sings it as “so shy,” which I would say is a bit toocute. But it’s a good song, more uptempo than a lot of their stuff, while still a strong musical showcase for James’ vocals.

Creeper – Midnight. Creeper’s EP American Noir is supposed to serve as an epilogue to their incredible 2020 album Sex, Death, and the Infinite Void, with 8 new tracks running 19 minutes, including this very “Because the Night”-like duet, and the intro song “Midnight Militia”, a 75-second throwback to the punk sound they showed on their debut album, Eternity, in Your Arms.

Quicksand – Colossus. I was a little underwhelmed by Quicksand’s latest album, Distant Populations, after their surprisingly strong comeback album, 2017’s Interiors. It’s their first album without guitarist Tom Capone, who was arrested for shoplifting while on their last tour and appears to have some mental health issues. This is the best track on the record, though, with the most vintage Quicksand sound to it.

Turnstile – DON’T PLAY. Turnstile is definitely the it band on the rock side of things right now; I compared their song “BLACKOUT” to early Helmet, and Helmet certainly had that kind of buzz before Meantime hit. Anyway, Turnstile’s album GLOW ON is out now, and it’s great, a mixture of hardcore punk and plenty of post-punk tracks, more of the latter, really, which makes all the talk of them as a hardcore band seem a little behind the times. They’re good, and I think this album is going to be all over year-end lists, but they’re a lot more than just a hardcore punk band now.

Deafheaven – In Blur. So Deafheaven has gone from blackgaze to shoegaze, dropping almost all the trappings of death/black metal that characterized their previous four albums; the only screamed vocals on Infinite Granite come at the very end of a few songs, and I don’t think I heard any blast beats. Sunbather was on every critic’s top ten list for its year, or so it seemed, and I would bet you a huge amount of money most of them never got through the entire album and/or have never listened to it since, because almost nobody can stand that much screaming. If they could, extreme metal would be a shit-ton more popular than it is. Anyway, my guess is Deafheaven realized that they’d make a lot more money by toning down the black metal nonsense and crafting something that would appeal to a wider audience – which they could do without compromising the remainder of their musical aesthetic. Infinite Granite is a good shoegaze album, and that should boost their popularity. It is, however, not exactly groundbreaking stuff; if you put this album in 1993, it would fit in nicely with Ride and Slowdive, more accessible than My Bloody Valentine’s two albums of the era but with a similar vibe. The crime will be if this record gets worse reviews than Sunbather despite being music most people could actually enjoy.

Thrice – Robot Soft Exorcism. It’s funny; I always like Thrice’s lead single off a record a bit more than their second single, regardless of how much I end up liking the eventual album. I like “Robot Soft Exorcism,” especially the energy in the chorus, although “Scavengers” was better. Anyway, Horizons/East will be out on the 17th, and I look forward to seeing them here in Philly in October.

Chrome – Terminate. Not gonna lie: I had no idea Helios Creed was still going. Scaropy is the 23rd album released under the Chrome name, although I think it’s also fair to say Chrome hasn’t been real Chrome since the last Edge/Creed record, 1982’s 3rd From the Sun. Anyway, I don’t think Scaropy is very good, but this is the best track on it.

Unknown Mortal Orchesta – That Life. I included this track primarily for that weird, briefly dissonant guitar riff. Without that, the track would be utterly generic, but that riff is great.

Ariel Posen & Cory Wong – Spare Tire. Instrumental jazz-funk from two great guitarists … and it’s under 3 minutes, so it doesn’t overstay its welcome (if anything, they could have gone another minute and it would have been fine considering how strong the groove is).

Griff – One Night. Griff’s mixtape came out in June and reached #4 on the UK album charts, and now she’s back with another gem of a new single. The 20-year-old singer/songwriter seems headed for pop stardom, at least over in Europe, although I’m hoping the U.S. will catch on.

Maisie Peters – Elvis Song. Speaking of heading for stardom, Peters’ debut album, You Signed Up for This, came out a week ago on Ed Sheeran’s record label, and is likely to debut in the top 3 on the UK albums chart on Friday. The album is very good, with Peters’ great knack for telling stories about teenage romances gone wrong, but it’s also slickly produced pop that made me miss Peters’ more singer-songwritery stuff from when she was first starting out.

Courtney Barnett – Before You Gotta Go. I love Barnett the lyricist, and I have resigned myself to Barnett the singer. Whether I like her songs comes down to whether there’s a decent melody beneath them, regardless of tempo, although there’s a clear correlation between the two. This song is a little faster than her norm, and it has a little groove to it, so that the thing she does best – I’d call her a top 5 wordsmith in music right now – gets a chance to shine.

Alien Boy – The Way I Feel. This Portland quartet might have just stepped out of the mid-90s, with jangle-alt-indie-pop sounds and a hint of shoegaze in the production. The band’s name comes from a 1980 Wipers song, which was about James Chasse, who was later murdered by police in 2006 after he was arrested and beaten, breaking 26 bones, while he was probably having a psychotic episode.

Gorillaz feat. AJ Tracey – Jimmy Jimmy. I might be alone in this, but I’ve found most of Gorillaz’ output since their first two albums to be pretty boring. Even this song sounds like Damon Albarn mailed in the music – is that just a sample from “Clint Eastwood” on a loop in the background – but Tracey’s vocals make it something better than the typical Gorillaz track.

Jorja Smith x GuiltyBeatz – All of This. Smith did tell us in May that she would Be Right Back, and here she is again, now with an amapiano collaboration with Ghanaian-Italian producer GuiltyBeatz.

Tom Morello & Phantogram – Driving to Texas. This sounds like a great Phantogram song, but it’s going to appear on Morello’s upcoming album, and I don’t know that I hear him here. Maybe that’s a sign of how expansive the new record will be?

Dream Theater – Alien. It’s 9 minutes, just to warn you, but if you like Dream Theater’s proggy style, then you’re probably okay with that. There are some great guitar lines here, although James LaBrie’s voice is sounding a bit worn.

Exodus – The Beatings Will Continue (Until Morale Improves). I can’t believe these guys are 1) still at it and 2) still making almost exactly the same music as they did 35 years ago. Also, I have to make my Exodus joke: It will never not bother me that “Toxic Waltz” is in 4/4 time.

Omnium Gatherum – Paragon. This Finnish melodic death metal band tends towards a more progressive sound than, say, the Gothenburg school that influenced them, and Omnium often mixes some clean vocals in with the death growls, as they do here in the choruses (are those actual harmonies?). It’s the guitar work that reels me in, though, enough for me to ignore some of the ridiculous vocals.

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→ April 1, 2021
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Music update, March 2021.

What a loaded month for new tracks; maybe the possibility of tours later this year has encouraged artists to put out more new music, or maybe it’s a backlog of songs recorded during the long winter, but either way, this is one of my longest new music playlists ever, with 25 songs and over 100 minutes of music even after I made some cuts. You can access the Spotify playlist here if you can’t see the widget below.

The Lottery Winners featuring the Wonderstuff – Bang. The Wonderstuff’s “Circlesquare” is one of those songs I forget from time to time, only to have something bring it back the front of my memories and remind me of how much I like it. I wasn’t aware they were still active as a group, but they toured with then-rookies The Lottery Winners in 2016, which I assume led to this joint effort that I think is my favorite LW track so far. It’s indie-pop with a rough undertone in the lyrics, just like “Circlesquare.”

YONAKA – Ordinary. The Brighton quartet’s second new single of the year, “Ordinary” might be their best song so far, and I assume this self-produced track heralds a sophomore album at some point this year.

FKA twigs feat. Headie One – Don’t Judge Me. Headie One’s 2020 mixtape GANG had a two-minute song called “Judge Me (Interlude)” that featured FKA twigs on vocals, but it was truly an interlude, hardly a finished product. This, however, is a real song, with twigs elevated to lead status, or at least co-lead with Headie One, and how could you avoid interpreting the lyrics in an entirely new light after what she has gone through in the last six months? Her last album, MAGDALENE, was outstanding, one of my favorites of 2019, and I get the sense whatever she does next is going to top that.

Jungle – Keep Moving. Jungle put two songs on my ranking of the top 100 tracks of the 2010s, “Busy Earnin” (#64) and “Happy Man” (#11), one from each of their first two albums, both heavily influenced by 1970s soul, R&B, and funk. This lead single from their third album Loving in Stereo, due out August 13th, moves forward a few years in the past to the early years of disco, with a great hook but perhaps not the high ceiling of their best songs to date because it’s lost some of the harder edges.

Ghost of Vroom – I Hear the Axe Swinging. I was hopeful that Mike Doughty’s new project would bring back some of that long-lost Soul Coughing vibe after a promising EP last summer, and I think this new single, from the group’s full-length album Ghost of Vroom 1, delivers on that promise, from Doughty’s half-sung, half-spoken word vocals to a drum-and-bass backdrop. The whole album is made of the same stuff, although I think Doughty is more front-and-center than he was on Soul Coughing’s first two albums.

The Horrors – Lout. The Horrors came on the scene in 2006 with the arty, dissonant single “Sheena is a Parasite,” went more mainstream with their stellar album Skying in 2011, and continued evolving in an even tamer direction after that, so their new three-song EP, also called Lout, is a surprise and a callback to their mid-aughts sound, with this title track the most accessible on the record.

NewDad – Slowly. This new Irish quartet is the latest in a sudden surge of shoegaze bands from that country, a quarter-century after the original shoegaze movement peaked in England, although this new wave is often more pop-accessible, as on NewDad’s sixth single, off their new EP Waves.

Japanese Breakfast – Be Sweet. “Be Sweet” is one of the most-lauded tracks of the month as far as I can see, thanks to a big hook in the chorus and a sunny, poppy sounds that should really cross over to mainstream pop radio.

BLOXX – Everything I’ve Ever Learned. I enjoyed this West London group’s debut album Lie Out Loud, including the title track and “Coming Up Short,” comparing it to California indie pop, and that’s still here on this new single, which is a little more mature and layered without losing any of their knack for a strong melody.

Sprints – Ashley. Sprints, like BLOXX, appeared on my top 100 songs of 2021, and they’re back now with another punk-influenced banger, although here the Irish quartet bring more rock/pop elements to their formula for a song that’s less indignant but still rocks, building to a powerful chorus, with lyrics that might take a little from “Every Breath You Take.”

Everything Everything – SUPERNORMAL. These art-rockers released this leftover track from their RE-ANIMATOR recording sessions, and I kind of wish it had made the record – this is the kind of frenetic music at which they excel, and which first drew my attention nearly a decade ago with songs like “Cough Cough” and “Kemosabe.”

Jorja Smith – Addicted. Still waiting for word on a second album from Smith, who has still been busy, including this stunning single and, as I recently learned, a contribution to the soundtrack of Shaun the Sheep: Farmageddon.

Sons of Kemet feat. Kojey Radical & Lianne La Havas – Hustle. This British jazz ensemble brings in elements of Afrobeat, Caribbean music, classical, and here rap courtesy of Kojey Radical. Sons of Kemet were shortlisted for the 2018 Mercury Prize for their last album, Your Queen is a Reptile, and their follow-up, Black to the Future, will be out on May 14th.

Daniel Casimir, Moses Boyd, et al – Safe (Part One). Because I’ve listened so much to Dark Matter, the 2020 debut album from jazz drummer Moses Boyd, I’ve discovered numerous other tracks on which he’s played, songs I would never have found otherwise because I don’t really know jazz well at all. Casimir is the lead artist here, a bassist and bandleader who put out his first full-length album (with Tess Hirst) in 2019 and has returned here with his longest song yet, this seven-minute opus that my limited jazz knowledge tells me bears a strong influence from John Coltrane.

DREAMERS, Big Boi, UPSAHL – Palm Reader. You might remember DREAMERS’ 2014 alternative radio hit “Wolves” or 2016’s “Sweet Disaster,” both perfectly cromulent songs, but this track expands their sound and is far more memorable for the contributions of Big Boi and the young singer UPSAHL. Just a reminder that palm reading is not a thing.

James – All the Colours of You. James’ peak output from 1989-1999, from “Sit Down” to Millionaires, should be up there in the pantheon of music in that era alongside the Oasises and the Blurs and other purveyors of smart rock/pop, but for whatever reason they’re just not remembered that way, and their music since the turn of the century has usually left me disappointed. This isn’t the next “I Know What I’m Here For,” but it’s good to hear James turn the tempo back up and bang the drums again.

TEKE::TEKE – Meikyu. Named for a Japanese urban legend about a vengeful spirit, this seven-piece, Montréal-based, Japanese band, incorporates traditional instruments into 1960s rock that sounds like the score to an early spy movie or a James Bond thriller. Their new EP Yoru Ni features two standout songs, this one and the title track.

Black Honey – Back of the Bar. This Brighton indie-pop band just released their second album, Written & Directed, which runs a scant 30 minutes but includes a bunch of catchy pop tracks, including this one, “Believer,” “Run for Cover,” and “Beaches.”

beabadoobee – Last Day on Earth. I do appreciate beabadoobee’s ’90s alternative radio sounds, but when she says “I’ve got something to say,” it just reminds me that she doesn’t seem to have anything to say. Her music isn’t catchy or compelling enough for me to overlook the lyrics yet, but she is a talented guitarist and songwriter, so she’s still a prospect with some upside.

Inhaler – Cheer Up Baby. Poor Elijah Hewson. The lead singer of Inhaler is never going to get away from comparisons to his father, Bono, because he sounds just like him whenever he extends his voice, as he does on the chorus here – but it’s a good song in its own right, and Inhaler doesn’t really sound like U2.

Royal Blood – Limbo. I’m not sure how I feel about this new single from Royal Blood, whose first single “Out of the Black” was my #1 song of 2014 and #13 of the decade, which is catchy and has that heavy bottom all their songs do (because Mike Kerr is playing a bass guitar with an octaver pedal, not a six-string), but it’s … dancy? Am I just thrown because this is a good song that is not what I think of a Royal Blood song? That bass riff at the end is pretty killer, though.

Death from Above 1979 – Modern Guy. “One + One” was the lead single from their new album, Is 4 Lovers, and I think my preferred single of these two, but I haven’t had a chance to dive into this album yet.

Wheel – Ascend. This Finnish prog-metal band has fast become one of my favorite artists in that niche, and their second album, Resident Human, has two standout shorter singles in this and “Fugue,” along with three songs that clock in beyond ten minutes, which I understand isn’t everyone’s taste.

Gojira – Amazonia. Is Gojira the best metal band in the world today? I’m inclined to say yes, especially since this is the third straight single they’ve released (“Born for One Thing” and “Another World”) that retains their trademark heaviness but strike a better balance between the not-quite-growled vocals and the showstopping music behind it.

Moonspell – The Hermit Saints. More gothic metal from these Portuguese stalwarts who seem like a throwback to heavy metal in the pre-death (pre-Death?) days.

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→ March 3, 2021
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Music update, February 2021.

My first draft prospect ranking for 2021 is now up for The Athletic subscribers.

I didn’t post a playlist for January, as that month didn’t give me anywhere near enough new tracks even if I’d accepted that I’d have to make the playlist shorter than usual, but now, with two-plus months since my last music post, we’re back to normal again. Three great albums have helped kick off 2021, with a few stragglers from 2020, and a slew of singles heralding upcoming LPs from artists new and old. As usual, I’ve pushed the heavier material to the back of the list. You can access the playlist here if you can’t see the widget below.

Kid Kapichi – Working Man’s Town. This Time Next Year, the debut record from this Hastings quartet, sounds like something Alex Turner might have cooked up if he wanted to do something grittier and more abrasive. The record is brilliant, witty, and surprisingly full of hooks, featuring this track, “Sardines,” and “Don’t Kiss Me (I’m Infected).”

Arlo Parks – Hope. Parks’ debut album Collapsed in Sunbeams dropped in January, featuring all of the great singles she’d released in the preceding eighteen months, including “Hurt,” “Green Eyes,” “Black Dog,” and “Caroline.” This track has more of her gorgeous vocals, sharp lyrics, and soulful, jazzy (but not jazz) backing music, making it the best of the new songs on the record.

Gum Country – Somewhere. As the year came to a merciful close, I found more and more best-of lists to peruse, including some great genre-specific ones over at Paste. Gum Country’s debut album Somewhere took the last spot (that is, #50) on Paste‘s top 50 albums of 2020 list, and it’s worthy of the praise, combining elements of power pop, indie rock, and psychedelia, like Velocity Girl met My Bloody Valentine by way of early Mercury Rev.

Black Honey – Believer. Black Honey have been among my favorite indie pop/rock bands for at least three years now, and they put out two songs since my last playlists went up, this straight-up pop track and the much harsher “Disinfect,” although even that song has an undeniable hook.

HAERTS – Shivering. HAERTS’ third album Dream Nation will be out on March 12th, and I can’t wait, even though I think you could argue their sound hasn’t really changed in the nine years since they first appeared.

The Lottery Winners feat. Frank Turner – Start Again. I missed the Lottery Winners’ self-titled debut album last March, but it’s fun, hooky indie-pop, and their sound works really well with Turner’s vocals here.

Royal Blood – Typhoons. I’m cautiously optimistic that Royal Blood are going to correct course a little bit and get closer to the heavy hooks of their debut album, although nothing will ever touch “Out of the Black.” This song really grooves with more bottom than a good splitter.

FRITZ – Jan 1. FRITZ’s sophomore album Pastel feels like something out of the mid-90s, kind of Lotion meets early Lush, fuzzy, reverbed-out, guitar-driven indie-pop with a coming-of-age theme to it.

Griff – Black Hole. This is Griff’s eleventh single, according to Wikipedia, although she has yet to release a full album, although I suppose we can forgive her since she just turned 20 in January. This was the first track of the pop singer/songwriter’s to cross my radar, but the hook in this chorus – “there’s a big black hole where my heart used to be” – is a hell of an earworm.

Allie X – GLAM! That intro sounds like I’m about to play a video game … 15-20 years ago, maybe? But then the singer/model Allie X starts with a whoa-oh-oh-oh that would have fit in on pop radio in 1985. I mean, listen to this chorus. How is this song not already an enormous hit?

Noname – Rainforest. I confess Noname’s laconic delivery has never done much for me, but the syncopated beat and her somewhat faster tempo here caught my ear in a way none of her previous tracks had.

Potty Mouth – Let Go. Speaking of Velocity Girl, I feel like this Massachusetts all-girl trio is sort of VG’s spiritual heirs with their sunny power-pop tracks, although I think their lyrics slipped a grade here.

Django Django feat. Charlotte Gainsbourg – Waking Up. The third new album of 2021 that’s likely to show up on my year-end list – although I’d rank it third of those three – is the Djangos’ fourth album Glowing in the Dark, which has this surprising collaboration with erstwhile Lars von Trier muse Gainsbourg.

YONAKA – Seize the Power. This Brighton quartet, led by the charismatic singer Theresa Jarvis, plan to release their sophomore album this year, with this first single a slight departure from the style of Don’t Wait Til Tomorrow.

King Gizzard and the Lizard Wizard – East West Link. This prolific Australian prog/psych rock band just released L.W., their 17th album in just eight and a half years. I assume the title refers to the vaguely “eastern” sounds – I’d say more south Asian, or even the southwestern part of Asia, but I’m no expert in music from either region – which sort of give this whole thing a Physical Graffiti vibe.

Greentea Peng – Nah It Ain’t the Same. Peng’s debut album MAN MADE is due out this summer, and I’m at least curious after this lead single, which has elements of hip-hop, soul, funk, andthe sort of Thai jazz brought to the mainstream by Khruangbin.

Freddie Gibbs – Winter in America. Gibbs is an unusual but inspired choice to cover Gil-Scott Heron and Brian Jackson’s 1975 track, which originally appeared on The First Minute of a New Day. This cover is part of a partnership between ESPN’s The Undefeated and Hollywood Records and appeared on an EP called Black History Always – Music For The Movement Vol. 2.

Iceage – Vendetta. This Danish post-post-punk band’s fifth album Seek Shelter is due out May 7th, with this tense, sludgy track the lead single.

Death from Above 1979 – One + One. Driven by a guitar riff to make Josh Homme blush, this song also has a real groove to it, like a lost track from the Mark Ronson-produced QotSA album.

Gojira – Born for One Thing. I think Gojira is the most interesting metal band going right now, as they’ve gotten more progressive and creative with each album, moving from straight death metal to more technical material to their current hybrid of thrash, prog, and even “groove” metal sounds. I never got into Pantera, but I can hear the influence of Diamond Darrell on the guitarwork here as I did on Magma.

Angelus Apatrida – Bleed the Crown. These Spanish thrash stalwarts released their self-titled seventh album late last year, showing a strong influence from both Bay Area thrash and the giants of Teutonic metal like Kreator and Destruction, although the vocals are mostly death growls and in many cases overtook the pleasure of the guitar riffs.

Memoriam – Failure to Comply. Memoriam are often tagged as straight death metal because of Karl Willetts’ (ex-Bolt Thrower) guttural vocals, but they have more in common with traditional thrash than current extreme metal. This track is directly inspired by the BLM protests that took place across most of last summer in the US, as Willetts has a friend who participated in and recorded one event, ending up in jail and receiving community service (in his telling) for protesting.

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→ August 9, 2020
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Music update, July 2020.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Music update, May 2020.

This month’s playlist is as long as usual, but the writeup is shorter because of the draft. I thought it was a pretty solid month for new music though, including several tracks I think will end up near the top of my year-end ranking. If you can’t see the widget below you can access the playlist here.

The Eddy featuring Jorja Smith – Kiss Me in the Morning. I haven’t seen The Eddy, the jazz-themed Netflix show from Damien Chazelle, but this song features the Grammy-nominated Jorja Smith, whose Lost & Found was one of my favorite albums of 2018.

Khruangbin – So We Won’t Forget. I have loved both singles from their forthcoming album Mordechai, due out on June 26th, as they seem like the trio are approaching their artistic peak.

Oasis – Don’t Stop (Demo). It feels like this track, a previously unreleased demo recently rediscovered by Noel Gallagher, first resurfaced six months ago, rather than about six weeks ago. It’s very vintage Oasis, which is a good thing in my book.

Fontaines D.C. – A Hero’s Death. There’s something about the line “Life ain’t always empty,” which these retro-punks repeat throughout the song, during this of all seasons.

Little Simz – might bang, might not. I was a little let down by Little Simz’ EP Drop 6, given how great her 2019 GREY Area was, but she’s still a great rapper and rises above the less interesting music on the new record.

Everything Everything – Arch Enemy. This lead single from their upcoming album Re-Animator – due out in August – is very E2, soaring, ambitious, and slightly manic in its instrumentation.

Maisie Peters – The List. I’m still waiting for the world to catch on to Peters, who just turned 20 in May and already has several incredible pop songs to her credit. This isn’t quite at the heights of “The Best I’ll Ever Sing,” but it’s close.

Ten Fé – Nothing Breaks Like a Heart. I didn’t even realize this was a cover of the Mark Ronson/Miley Cyrus song because they’ve so completely changed the song, turning into a haunting acoustic number that’s almost dirge-like with its funereal vibe.

San Cisco – On the Line. Even San Cisco’s lesser singles still have great hooks, like this one, which, like most of their best songs, has Scarlett Stevens sharing some of the vocal duties.

LA Priest – Beginnings. When I first heard this track, I was sure it was something from the former lead singer of Wild Beasts,but it’s actually Sam Dust, whose second album Gene just dropped last week.

Spielbergs – Go! This track, part of Adult Swim’s singles series, captures this Norwegian band at their frenetic best.

The Mysterines – I Win Every Time. The Mysterines should be stars by now, with great rock hooks and Lia Metcalfe’s snarling, riveting vocals.

The Naked and Famous – Death. I mean, maybe now wasn’t the right time to release a song so explicitly about confronting our mortality?

Disclosure – ENERGY. Disclosure burst on the scene with 2013’s “When a Fire Starts to Burn,” which featured a sample of preacher and motivational speaker Eric Thomas; they went back to the well for this title track from their upcoming album, using more of Thomas’ words as the vocals above music that absolutely lives up to the title.

Black Orchid Empire – Natural Selection. I wasn’t familiar with BOE before, but this is my kind of metal, with big, muscular riffs, and a real melody in the vocals.

Caligula’s Horse – Valkyrie. Progressive metal from the Australian band’s newest album, Rise Radiant, released on May 22nd.

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