{"id":11023,"date":"2025-12-04T17:28:12","date_gmt":"2025-12-04T22:28:12","guid":{"rendered":"https:\/\/meadowparty.com\/blog\/?p=11023"},"modified":"2025-12-04T17:28:12","modified_gmt":"2025-12-04T22:28:12","slug":"music-update-november-2025","status":"publish","type":"post","link":"https:\/\/meadowparty.com\/blog\/2025\/12\/04\/music-update-november-2025\/","title":{"rendered":"Music update, November 2025."},"content":{"rendered":"\n<p>A funny thing happened to me on the way to making this playlist. I listen to my Release Radar playlist on Spotify every Friday, as I think the algorithm does a great job of identifying songs I might like while also presenting me with the newest tracks from artists I like, whether I follow them on the platform or not. One such track in November was a surprise to me, a song by Charly Bliss, who put out a tremendous album in 2024 and then hadn\u2019t released anything \u2013 or even posted to their Instagram account \u2013 in over a year. I added it to the temporary playlist I use to stash songs for the monthly ones I publish without even listening to the song first, because my default assumption with Charly Bliss was that I\u2019d probably like the song, and would just listen to it later on.<\/p>\n\n\n\n<p>When it came time to curate and write up the playlist, I listened to the song in full, and it didn\u2019t sound like Charly Bliss, not least because their primary vocalist is a woman, and this was sung, apparently, by a man. The song was sort of reggae-tinged, in kind of an anodyne way that sounded like nothing in specific. Since I was already suspicious, I checked Charly Bliss\u2019s social media accounts and found no mention of the song. The video is posted to a Youtube account that isn\u2019t theirs, with comments disabled. When I clicked on the artist name on Spotify, it takes me to a different page for a \u201cCharly Bliss\u201d that\u2019s not the band\u2019s verified one. Obviously, this is AI slop. I reported it to Spotify and Youtube three days ago and it\u2019s still up on both sites. We\u2019re losing this fight. Maybe it\u2019ll kill the current streaming model, which wouldn\u2019t be the worst thing given how much it has taken from artists\u2019 ability to support themselves, but maybe people won\u2019t care enough and they\u2019ll just bop along to the AI garbage instead. I don\u2019t matter in the broader music ecosystem, but I could see these lists becoming more difficult to compile and curate because I have to check everything to see what\u2019s real.<\/p>\n\n\n\n<p>Anyway, for now, I\u2019m still posting to Spotify (here\u2019s <a href=\"https:\/\/open.spotify.com\/playlist\/0JKW6Hj49InuYd2ZQohd1Z?si=f08e390d096d4dc4\">this month\u2019s playlist<\/a>) but also to <a href=\"https:\/\/music.apple.com\/us\/playlist\/klaws-november-2025-new-music-update\/pl.u-xlyNjo3CDBBMy\">Apple Music<\/a>, which I\u2019ve embedded below as well.<\/p>\n\n\n\n<iframe allow=\"autoplay *; encrypted-media *; fullscreen *; clipboard-write\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;border-radius:10px;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https:\/\/embed.music.apple.com\/us\/playlist\/klaws-november-2025-new-music-update\/pl.u-xlyNjo3CDBBMy\"><\/iframe>\n\n\n\n<p><strong>De la Soul feat. Q-Tip &amp; Yummy Bingham \u2013 Day in the Sun (Gettin\u2019 Wit U).<\/strong> Produced by Pete Rock, this track is one of the standouts from what I assume will be the final De la Soul album, since founding member Trugoy died in 2023. <em>Cabin in the Sky <\/em>is peak post-<em>3 Feet High<\/em> De la Soul, as they really veered away from the most commercial aspects of their debut and more into their lyrics and offbeat samples. \u201cThe Package\u201d is outstanding as well.<\/p>\n\n\n\n<p><strong>Obongjayar \u2013 Give Me More.<\/strong> The best of the five new tracks on the deluxe edition of <em>Paradise Now<\/em>, called <em>Paradise Now &amp; Later<\/em>. \u201cLipdance\u201d isn\u2019t too shabby, either.<\/p>\n\n\n\n<p><strong>Sampa the Great &amp; Mwanj\u00e9 \u2013 Can\u2019t Hold Us.<\/strong> Two of the leading Zambian artists teamed up for this track from the soundtrack to the video game <em>FC 26<\/em>. Part rap, part Zamrock, the whole thing feels like a stadium anthem in the best possible way.<\/p>\n\n\n\n<p><strong>Tame Impala \u2013 No Reply.<\/strong> <em>Deadbeat<\/em> was a letdown; \u201cDracula\u201d is one of Kevin Parker\u2019s best songs ever, but the rest of the album is a mediocre techno record. This is one of the few songs on the LP that stood out at all. I miss the Tame Impala that rocked a little.<\/p>\n\n\n\n<p><strong>Hatchie \u2013 Sage. <\/strong>Hatchie\u2019s third album, <em>Liquorice<\/em>, came out on November 7<sup>th<\/sup>; while her sound is still firmly in the dream-pop space, I think the record is a small step backwards, less ambitious than <em>Giving the World Away<\/em>, less immediately catchy than <em>Sugar &amp; Spice<\/em> or <em>Keepsake<\/em>.<\/p>\n\n\n\n<p><strong>Portugal. the Man \u2013 Knik.<\/strong> So it appears that Portugal. the Man is mostly a John Gourley project, although I see various listings of Zoe Manville and Kyle O\u2019Quin as band members; their latest album, <em>Shish<\/em>, is a return to their psychedelic and somewhat experimental rock roots prior to <em>Evil Friends<\/em>, and a big step up from their post-<em>Woodstock<\/em> album that seemed like a rejection of their sudden commercial success.<\/p>\n\n\n\n<p><strong>Allie X \u2013 7<sup>th<\/sup> Floor. <\/strong>Allie X\u2019s fourth album, <em>Happiness is Going to Get You<\/em>, came out on November 7<sup>th<\/sup>, and is a little more mainstream in sound and production than some of her previous work \u2013 not that there\u2019s anything wrong with that, as long as the hooks are still there. In a previous era, this would have been a big radio hit, maybe crossing over from alternative to pop stations, but I\u2019m not even sure what constitutes a \u2018hit\u2019 at this point.<\/p>\n\n\n\n<p><strong>The Itch \u2013 Space in the Cab.<\/strong> Just the fourth single so far from this British dance\/new-wave revival duo, with a great hook that got stuck in my head on first listen.<\/p>\n\n\n\n<p><strong>Demob Happy \u2013 No Man Left Behind.<\/strong> This British alternative band, now a trio after their lead guitarist departed, will put out their fourth LP <em>The Grown-Ups Are Talking<\/em> on January 30<sup>th<\/sup>. This song is the second single from the record, with lyrics discussing the alienation of young men over an insistent bass &amp; guitar line.<\/p>\n\n\n\n<p><strong>Nothing \u2013 cannibal world.<\/strong> This Ameircan shoegaze-revival band\u2019s new album <em>A Short History of Decay<\/em> comes out on February 27<sup>th<\/sup>; I like a lot of shoegaze, both the revival and the original movements, but I\u2019ve found a lot of Nothing\u2019s prior output to be too cold, even for a genre that thrives on frigidity. This song has a little more energy to it than their previous tracks, enough to separate it from their back catalog and the flood of shoegaze-adjacent music out there right now.<\/p>\n\n\n\n<p><strong>The Mynabirds \u2013 Labor Day Love Letter.<\/strong> Laura Burhenn <a href=\"https:\/\/www.patreon.com\/posts\/bye-bye-spotify-138000557\">removed all of her music from Spotify<\/a> and replace it with this spoken-word track, damning Spotify for its failure to police AI slop on the site, for its industry-worst payment rates to artists, and for the CEO\u2019s investment in an AI military-tech startup. <em>(Note: This song does not appear on the Apple Music version of the playlist.)<\/em><\/p>\n\n\n\n<p><strong>White Lies \u2013 Nothing On Me.<\/strong> New wavers White Lies\u2019 newest album <em>Night Light<\/em> was a mild disappointment to me, lacking the melodies or the energy of <em>As I Try Not to Fall Apart<\/em> or <em>Big TV<\/em>. This was easily the best song on the album, a pulsing, uptempo song that seems perfect for the highway.<\/p>\n\n\n\n<p><strong>SPRINTS \u2013 Pieces.<\/strong> <em>All That is Over<\/em>, the latest album from this Irish punk quartet, came out last month; it\u2019s definitely a more polished effort than their previous LP, but also louder and bigger to balance out the loss of that garage-rock sound.<\/p>\n\n\n\n<p><strong>Picture Parlour \u2013 24 Hr Open.<\/strong> I hadn\u2019t heard of this British indie band before this track, which has a killer guitar riff throughout the song, but apparently there were <a href=\"https:\/\/www.the-independent.com\/arts-entertainment\/music\/features\/picture-parlour-norwegian-wood-courtney-love-b2362423.html\">some conspiracy theories around them in 2023<\/a> when they first broke out, with people claiming they were nepo babies or industry plants or something. That all appears to be nonsense, for what it\u2019s worth. Also, the song is good, and that\u2019s more important.<\/p>\n\n\n\n<p><strong>Aleksiah \u2013 Faker.<\/strong> There\u2019s a sequence of chord changes in the bridge of this Aussie popster\u2019s latest single that elevates it beyond the typical pop fare, echoed slightly in the chorus as well; I\u2019m stereotyping a little, but American pop artists, run through the major-label machine, just don\u2019t play around with chord or key changes like this.<\/p>\n\n\n\n<p><strong>PLOSIVS \u2013 Metacine.<\/strong> PLOSIVS is Pinback\u2019s Rob Crow with two members of Rocket from the Crypt and the bassist from Mrs. Magician; they released an album in 2022, which I missed entirely, and now they\u2019re back with this track and a new album, <em>Yell at Cloud<\/em>, that came out the day after Thanksgiving, which seems like a good way to make the entire U.S. miss it too.<\/p>\n\n\n\n<p><strong>Flight to London \u2013 No One\u2019s Forgiven.<\/strong> I\u2019ve said a zillion times that I\u2019m a sucker for any band that channels the early \u201880s new wave that made up so much of my listening during my most formative years as a music fan; Flight to London (not an SEO-friendly name, unless you\u2019re heading to LHR as well) is a brand-new duo who sound a ton like Heaven 17 and early Spandau Ballet and other bands of that niche, with this first single off their just-released album <em>Instructions for Losing Control<\/em>.<\/p>\n\n\n\n<p><strong>Ella Eyre w\/Tiggs da Author \u2013 head in the ground.<\/strong> Eyre had a number of hits in the UK the 2010s, including her 2015 debut album <em>Feline<\/em>, which reached the British top 10, but her second album only just appeared last month. <em>everything, in time<\/em> includes this modern R&amp;B banger, which first appeared in some form in 2023 and includes the Tanzanian-born rapper Tiggs.<\/p>\n\n\n\n<p><strong>Ashes and Diamonds \u2013 On a Rocka.<\/strong> Ashes and Diamonds is Daniel Ash of Bauhaus &amp; Love and Rockets, Bruce Smith of PiL, and Paul Denman of Sade; they just released their first album, <em>Are Forever<\/em>, and this is the best song of the first half (that\u2019s as far as I\u2019ve gotten).<\/p>\n\n\n\n<p><strong>The Dead Betties \u2013 Whatever Anyway. <\/strong>So apparently The Dead Betties have been around for 25 years, and I\u2019m embarrassed to say I\u2019d never heard of this queerpunk trio. They\u2019ve put out three singles this year after releasing an album last October, then dropped an EP, <em>Whitey<\/em>, last month, with this bass-heavy mid-tempo punk track.<\/p>\n\n\n\n<p><strong>Kreator \u2013 Seven Serpents.<\/strong> Kreator\u2019s sixteenth album <em>Krushers of the World<\/em> comes out on January 16<sup>th<\/sup>, featuring this track along with \u201cTr\u00e4nenpalast,\u201d the latter a collaboration with Britta G\u00f6rtz of the melodic death metal band Hiraes. I\u2019m amazed how many of the giants of 1980s thrash still sound just as good today, as long as they stick to their original sound. It may not be \u201cBetrayer\u201d or \u201cToxic Trace,\u201d but this rocks.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A funny thing happened to me on the way to making this playlist. I listen to my Release Radar playlist on Spotify every Friday, as I think the algorithm does a great job of identifying songs I might like while also presenting me with the newest tracks from artists I like, whether I follow them [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[1433,359,609,167,852,1114],"class_list":["post-11023","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-2025-in-music","tag-alternative","tag-hip-hop","tag-indie","tag-music","tag-thrash","entry"],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/posts\/11023","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/comments?post=11023"}],"version-history":[{"count":1,"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/posts\/11023\/revisions"}],"predecessor-version":[{"id":11024,"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/posts\/11023\/revisions\/11024"}],"wp:attachment":[{"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/media?parent=11023"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/categories?post=11023"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/meadowparty.com\/blog\/wp-json\/wp\/v2\/tags?post=11023"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}