Can desire best be described as a train running into a tunnel? In popular culture, desire is rarely written with the nuance (or maybe, the trepidation) it deserves, reduced as it is to the slickest surface of its skin and hardly deeper. Sex is a commodity that enforces possession and hierarchy, something to receive or give depending on a narrative. In music production, we can find erotic platitudes that extend the length of an appendage environed by the digital squalor of diamond-studded algorithms. Pop music, great trains, running into tunnels: sex as a deliberate force acted upon us by the external forces we internalize and, by god, in turn, externalize. Art as submissive constructs to societal norms. If not trains, what then?
The answer Jenny Hval offers is immediate, though you’d be forgiven for thinking it the iconic opening gambit: “I arrived in town / with an electric toothbrush / pressed against my clitoris.” Rather, we are drawn inward by the quiet intensity of her arrangements, in the discordant ambiance that slowly envelops the stark percussive elements. There is a timeless quality to the mixture of industrial and folk music, in the glacial way the tracks erode and subside only to build into discomfiting calamity. The songs unspool with seeming spontaneity…
It’s strange that a twenty-year-old has seemingly been through it all. Julien Baker sings and plays with such confidence and writes about such harrowing circumstances that it’s easy to forget she was barely out of her teens when recording Sprained Ankle. Eight guitar songs and one piano track are all it takes to convey Baker’s rock bottom. Sprained Ankle was recommended to me by a dear friend shortly after I had hit rock bottom in my life. It’s hard to even articulate what this album did for me emotionally. It’s like salt into wounds except that’s exactly what you need. Much of the subject matter here is Christian related which normally does nothing for me, but Baker’s blunt lyricism and blunt songwriting have me singing along like I’m in the pews at church. Julien Baker says what she means and says it loudly. Sparse arrangements and forthcoming lyrics allow Baker to get straight to the point and get you completely broken down in just over thirty-three minutes. She could offer an emotional cleansing service with this album. Go ahead and cry the next time you spin Sprained Ankle; it’s all right, everybody does. –Trebor.
One of the graver losses of the 2010s, Fair to Midland outdid themselves with sophomore (and ultimately final) album Arrows and Anchors. While the band have straddled genres from alternative, metal, folk, and prog throughout debut Fables from a Mayfly, Arrows and Anchors managed to tighten up the band’s genre fusion, drive the sound into heavier territory, dial up the catchiness of nearly every track on the LP, and reinvent timeless children’s story Rikki Tikki Tavi into something you can headbang your brains out to. Need I say more?
Darroh Sudderth’s vocals remain as iconic as ever, warbling with passion as he projects clever twists of common sayings over fuzzed out guitars sparkled up by just enough keyboard to transform a dirt foundation into a more respectable pavement. Describing Arrows and Anchors can sound almost formulaic, but each and every track is just so much fun that it’s hard to care. While every track manipulates the ratio of keyboard twinkle to guitar crunch to similar spectacular results, the meat of each is seasoned just appropriately enough to feel freash and fun. There’s an undeniable menagerie of influence and expertise compiled into Arrows and Anchors, but ultimately it’s the the levity of the music and lyrics like “If…
Over the past two decades mewithoutYou have been ever present, but not necessarily in the foreground, in comparison to their peers. However, unlike many of the bands they have played alongside, mewithoutYou are more relevant than ever, even as they plan on disbanding. [Untitled] starts off unrelenting with “9:27a.m., 7/29” until “[Dormouse Sighs]” provides a brooding release from a three song barrage of chaotic harmony. Where mewithoutYou shine is found in their ability to balance emotion and volume. That balance blows past albums away with how seamlessly [Untitled] transitions from song to song. From “2,459 Miles” to “Wendy & Betsy” to “New Wine, New Skins” provide some of most graceful yet ferocious moments. [Untitled] provides a glimpse at how mewithoutYou have learned to adapt and evolve with time, especially coming off their landmark effort in Pale Horses. Look no further than the post-hardcore ballad in “Julia (or, ‘Holy to the LORD’ on the Bells of Horses),” where every element feels perfectly placed and timed. As mewithoutYou wind down, they leave a blueprint for the next decade of upstart alternative rock bands to follow.–IsItLuck?
The urge to repost lyrics in lieu of a blurb? Strong. (In all caps, obviously.) Maybe italicised, maybe emboldened, undoubtedly justified. That’d require, though, some prior knowledge of the album, its melodies; and as much as I’d like it to be, this isn’t karaoke. (You might as well listen to the album; not a bad idea.) A case regardless:
Despite my unfortunate Australian identity, On the Impossible Past makes me feel American. A weird thing, I imagine; after all, I don’t feel Japanese driving my girlfrend’s Toyota, listening to Kero Kero Bonito. (Make a bounce playlist: start with Iggy, transition into KKB’s ‘Trampoline’. You won’t regret it, I promise.) It’s testament, though, to the impressive songwriting capacity of the band’s two frontmen, Greg Barnett and Tom May — their underwrought narratives, and the ease with which one relates to them. And though it’s far from the album’s best song (fans could debate this forever), nowhere is this better epitomised than on closer ‘Freedom Bridge’, a song that anthemises (with irony, of course) suicide, detailing in vignette-form the short lives of victims of the so-called American dream. It is, as far as I’m concerned, a perfect (pop) punk song, perfect in its capacity to make earnest and powerful a line that would…
Here’s a list of major new releases for the week of April 10, 2020. Please feel free to request reviews for any of the following albums from staff and/or contributors.
– List of Releases: April 10, 2020 –
Active Child: In Another Life
Genre: Electronic/R&B
Label: Masterworks
Azusa: Loop of Yesterdays
Genre: Progressive/Thrash Metal
Label: Solid State
The Dream Syndicate: The Universe Inside
Genre: Psychedelic/Alt-Rock/Post-Punk
Label: Anti/Epitaph
Hamilton Leithauser: The Loves Of Your Life
Genre: Indie Pop
Label: Glassnote
Joe Satriani: Shapeshifting
Genre: Hard Rock/Jazz Fusion
Label: Legacy Recoridngs
Laura Marling: Song For Our Daughter
Genre: Indie Folk
Label: Chrysalis Records
Laurel Halo: Possessed
Genre: Ambient/Techno/Experimental
Label: The Vinyl Factory
Local H: Lifers
Genre: Grunge/Alt-Rock
Label: Antifragile Music
Maddie & Tae: The Way It Feels
Genre: Pop/Country
Label: Mercury Nashville
Midwife: Forever
Genre: Ambient/Shoegaze/Indie-Rock
Label: The Flenser
Nightwish: Hvman. :II: Natvre.
Genre: Power Metal/Classical/Gothic
Label: Nuclear Blast
Sparta: Trust The River
Genre: Post-Hardcore/Alt-Rock
Label: Dine Alone Music Inc.
Squarepusher: Lamental
Genre: IDM/Drum and Bass/Jazz
Label: Warp
The Strokes: The New Abnormal
Genre: Indie-Rock/Post-Punk/Alt-Rock
Label: RCA
I’m not sure what’s made 2020 crazier for me so far: all this coronavirus & social distancing, or the fact that I suddenly really dig both country and R&B. It’s a weird feeling listening to so much Honey Harper and Mac Miller, only to dive into Psychotic Waltz right after. You’ll find all kinds of variety on my Q1 Mixtape, which I hope will help you pass some isolation/self-quarantining time while also – maybe – discovering a new artist. Here’s 100 songs that stuck with me from January to March, in alphabetical order by artist name. I suggest you click ‘shuffle’ and let yourself get sucked into the weird, swirling genre vortex that is my current musical taste. Hope you enjoy.
Here’s a list of major new releases for the week of April 3, 2020. Please feel free to request reviews for any of the following albums from staff and/or contributors.
– List of Releases: April 3, 2020 –
Ad Infinitum: Chapter I – Monarchy
Genre: Melodic Death Metal
Label: Napalm
All Time Low: Wake Up Sunshine
Genre: Pop Punk
Label: Fueled by Ramen
Anna Burch: If You’re Dreaming
Genre: Folk/Indie-Rock
Label: Polyvinyl
August Burns Red: Guardians
Genre: Metalcore/Progressive Metal
Label: Fearless
Born Ruffians: JUICE
Genre: Indie-Rock/Post-Punk
Label: Yep Roc
Ellis: Born Again
Genre: Indie-Folk/Pop
Label: Fat Possum
Emancipator: Mountain of Memory
Genre: Trip-Hop/Electronic/Downtempo
Label: Loci
Empress Of: I’m Your Empress Of
Genre: R&B/Electronic
Label: Terrible Records
Here’s a list of major new releases for the week of March 27, 2020. Please feel free to request reviews for any of the following albums from staff and/or contributors.
– List of Releases: March 27, 2020 –
5 Seconds of Summer: Calm
Genre: Pop-Rock
Label: Interscope
Activity: Unmask Whoever
Genre: Electronic
Label: Western Vinyl
Basia Bulat: Are You In Love?
Genre: Indie-Pop/Folk
Label: Secret City Records
The Birthday Massacre: Diamonds
Genre: Alternative Rock/Industrial/Gothic
Label: Metropolis
Brian Fallon: Local Honey
Genre: Folk/Rock
Label: Lesser Known
Candlemass: The Pendulum
Genre: Doom/Heavy Metal
Label: Napalm
Here’s a list of major new releases for the week of March 20, 2020. Please feel free to request reviews for any of the following albums from staff and/or contributors.
– List of Releases: March 20, 2020 –
Adam Lambert: Velvet
Genre: Pop
Label: More is More, LLC
Baxter Dury: The Night Chancers
Genre: Alternative Rock
Label: Heavenly Recordings
Roger and Brian Eno: Mixing Colours
Genre: Ambient/Electronic
Label: Deutsche Grammophon
Container: Scramblers
Genre: Techno/Minimal/Industrial
Label: Alter
Foreign Fields: The Beauty of Survival
Genre: Folk/Indie-Rock/Ambient
Label: Caroline International (P&D)
Gordon Lightfoot: SOLO
Genre: Folk
Label: WM Canada
Heaven Shall Burn: Of Truth & Sacrifice
Genre: Metalcore/Melodic Death Metal
Label: Century Media Records
Helen Money: Atomic
Genre: Progressive Rock/Doom Metal/Post Metal
Label: Thrill Jockey
Hyborian: Volume II
Genre: Doom Metal/Stoner Rock
Label: Season of Mist
Kelsea Ballerini: Kelsea
Genre: Pop-Country
Label: Black River Entertainment
Låpsley: Through Water
Genre: Indie-Pop/Ambient/Electronic
Label: XL Recordings
Matthew Tavares and Leland Whitty: Visions
Genre: Jazz
Label: Mr Bongo
Moaning: Uneasy Laughter
Genre: Post-Punk/Shoegaze/Indie-Rock
Label: Sub Pop Records
Morrissey: I Am Not A Dog On A Chain
Genre: Alternative Rock/Indie-Rock/Post Punk
Label: BMG
Myrkur: Folkesange
Genre: Black Metal/Folk/Ambient
Label: Relapse
TOKiMONSTA: Oasis Nocturno
Genre: Hip Hop/Electronic
Label: TOKiMONSTA Music
The Weeknd: After Hours
Genre: Pop/R&B
Label: Republic Records
Yael Naïm: nightsongs
Genre: Folk
Label: Tôt Ou Tard
Here’s a list of major new releases for the week of March 13, 2020. Please feel free to request reviews for any of the following albums from staff and/or contributors.
– List of Releases: March 13, 2020 –
The Bombpops: Death in Venice Beach
Genre: Punk/Pop Punk
Label: Fat Wreck Chords
The Boomtown Rats: Citizens Of Boomtown
Genre: Post-Punk/Punk
Label: BMG
Burzum: Thulêan Mysteries
Genre: Black Metal/Ambient
Label: Byelobog Productions
Here’s a list of major new releases for the week of March 6, 2020. Please feel free to request reviews for any of the following albums from staff and/or contributors.
– List of Releases: March 6, 2020 –
Allen/Olzon: Worlds Apart
Genre: Metal
Label: Frontiers Music Srl
Anna Calvi: Hunted
Genre: Indie-Rock/Pop
Label: Domino Recording Co.
Body Count: Carnivore
Genre: Hardcore/Thrash Metal
Label: Century Media
Caroline Rose: Superstar
Genre: Indie-Pop/Rock
Label: New West
Cornershop: England Is A Garden
Genre: Indie-Rock/Brit-Pop
Label: Ample Play
Crematory: Unbroken
Genre: Death Metal/Industrial/Gothic
Label: Napalm
Honey Harper: Starmaker
Genre: Indie-Pop/Folk
Label: ATO
Hot Mulligan: You’ll Be Fine
Genre: Emo/Pop-Punk
Label: No Sleep
Jonathan Wilson: Dixie Blur
Genre: Folk/Psychedelic
Label: BMG
Lost in the wave of protest songs that washed over us from 2016-2019 is perhaps one of the most important messages to come out of the entire decade. “Noble Soldier/Dystopian Lament” is the curtain call and thematic crux of 2018’s Vitriola – an album whose overarching themes damn both politics and society, deeming both “fucked” as guitar chords slash away at listeners’ optimism. Lead vocalist Tim Kasher laments the abuse of power and financial wealth, self-prioritizing civilizations, and endless finger-pointing – frequently wrapping it all up into plainly stated disgust. The culmination of this miserable album is this seven minute all-damning epic, in which Kasher lists a series of things that used to give him hope, then swats down each one with a reason why it is corrupted:
I used to fall for love For family and for friends I used to fall for unity Despite our differences I used to fall for trust The decency of man I used to fall for secrecy ‘Til a neighbor played my hand I used to fall for math A universal truth I used to fall for science books Until they were removed I used to fall for hope The promise of our youth I used to fall for change ‘Til our youth became recruits I used to fall for currency To dictate what I’m worth I used to fall for ancestry Now I know we’re fucked from birth I used to fall for news I’d check…
When I first reviewed Aviary, I surmised: “At fifteen tracks, each hovering in the six-to-nine minute range, Aviary presents a daunting task. It’s a world that requires dedicated immersion; a commitment to its unwieldy time length but also a staunch distancing that allows you to engage its thousands of intricacies. It’s like a dot painting; there’s plenty that can be observed up close, but it’s prudent to step back and see the entire picture for what it was intended to be.” While that remains true of the album in its entirety, I’d like to think that “I Shall Love 2” does a damn fine job of capturing all of the record’s best traits in a tiny gorgeous bubble. Holter breathes enticing melodies into the music seemingly without effort, and they swirl around like leaves caught in an updraft – wispy and insignificant in the grand scheme of things. Chimes echo, strings swell from miles off, drums clatter, and electronics bubble and murmur. Her voice sways with the flow of the song, adding in a gorgeous hum or chirpy quip in spurts and however the music dictates. A grander nature surrounds this mini-opus, and it feels as though Holter is merely observant, as opposed to in charge. It all feels very autumn-esque, and it’s hands down one of the most beautifully picturesque tracks of her entire career.
Read more from this decade at my homepage for Sowing’s Songs of the Decade.
Magdalene is backloaded with some of FKA Twigs strongest individual tracks to date. ‘fallen alien’ is a career highlight and immediate song of 2019 contender, possessing one of the most rhythmically complex and aesthetically rich atmospheres that she’s ever crafted. The track commences with gentle piano notes and electronic effects that are jolted to the forefront with the synth-equivalent of nails on a chalkboard. FKA Twigs’ opening verses are then interrupted by extremely high-pitched, digitally-altered chants of “I feel the lightning blast”, and it’s clear that this is going to be the most epic bid on all of Magdalene. Thematically, the song again deals with relationships gone awry – in this case, that feeling of claustrophobia when you sense that someone is restricting your potential: “I never thought that you would be the one to tie me down…but you did.” FKA Twigs went on record confirming as much, stating, “For me, it’s that line, When the lights are on, I know you/When you fall asleep, I’ll kick you down/By the way you fell, I know you/Now you’re on your knees. You’re just so sick of somebody’s bullshit, you’re just taking it all day, and then you’re in bed next to them, and you’re just like, ‘I can’t take this anymore’.” Of course, as per Twigs’ reputation, the song’s motives aren’t overly transparent – so while such meaning can be derived through interpretation, ‘fallen alien’ is, at least from a technical/musical standpoint, an absolute blast.…