CURRENT ROTATION QUICK TAKES

OCTOBER 2025

Robert Plant /Saving Grace

With Saving Grace, Robert Plant solidifies his place as a vocalist of the most exquisite order, continuing the rich, acoustic-driven trend charted since his stunning 2007 partnership with Alison Krauss on Raising Sand. This treasure trove of covers is a formidable illustration of Plant’s dedication to artistry, proving he's far from resting on his legendary rocker status. The song selection is astonishingly eclectic: ranging from old-timey traditional numbers touched with a moving gospel flavoring (like 'Gospel Plough'), to classic blues (Memphis Minnie’s 'Chevrolet'), and even modern alternative rockers like Low ('Everybody’s Song'). The latter track, in particular, offers an acoustic thunder that could have settled comfortably on Zeppelin III. Backed by a band Plant has worked with for over five years, there is clearly a settled-in and locked-down collaborative spirit. The raw acoustic accompaniment backs the selected songs flawlessly, providing perhaps one of the most richly woven tapestries of sound Plant has achieved during his solo career. I especially appreciated the vocal contributions of Suzi Dian. Her inflections are completely compelling, and her stunning harmonies don’t merely back Plant; they weave a counterpoint, adding a necessary warmth and texture that elevates the entire collection. The only slight misstep in my mind is the decision to hand over lead vocals to band member Matt Worley for the Blind Willie Johnson number, 'Soul Of A Man.' Worley is a competent enough singer, but in the context of an album defined by Plant's sustained vocal brilliance, dedicating even a single track to another voice feels like a missed opportunity. While many classic rock artists (Paul Simon, Peter Gabriel, Bowie) have demonstrated significant growth and relevance late in their careers, Plant leaves no doubt throughout this album that he is amongst this exalted company. Saving Grace is a true gem—a collection that feels both worn in and timeless—and one that I know I will return to often. Standout Tracks: “Chevrolet”, “As I Roved Out” & “Everybody’s Song” - Thumbs Up and a Grade of A."

Sarah McLachlan / Better Broken

After over a decade of no new music, Sarah McLachlan effortlessly picks-up where she left off with a finely-tuned collection of pure adult contemporary pop. It is certainly no coincidence that the album comes on the heels of a charming documentary focused on her groundbreaking Lilith Fair, but if there is anyone who deserves some targeted cross-marketing to work to her advantage, it’s McLachlan. My full-fledged musical crush on her music began early. I can still clearly recall “Ben’s Song” from her debut, bringing a tear to my eye. That this illustrious start was followed by the powerful one-two combo of Fumbling Towards Ecstasy and Surfacing (both purely perfect singer/songwriter collections), not much else was needed to lock me down as a devoted fan. Though this new gathering of songs doesn’t necessarily push the envelope in unexpected ways, the fact that there hasn’t been new music in so long, coupled with a dedicated and tuned ear to McLachlan’s style makes this album feel like catching up with an old friend. The songs are emotionally charged and live comfortably in the mature housing of crafted pop shared through the filter of warmly intimate arrangements and production. My selected Standout Tracks both show her full powers in baring profound power through honesty and resilience.  Katie Gavin joins on the convincing “Reminds Me.” Standout Tracks: “Better Broken” & “Gravity” - Thumbs Up and a Grade of a solid B.

Big Thief / Double Infinity
With their sixth album, Double Infinity, the Brooklyn outfit Big Thief don't just hit full speed momentum—they find the elusive consistency and confident sonic identity that elevates them to a new level. While their roots are planted firmly in indie-folk and alternative rock, Big Thief on this record manages a fascinating and intriguing array of influences. This is heard clearly in the unique palette of sound: the track "Words" pulses with late-60s psychedelic fuzz, "Los Angeles" is a piece of dusty Americana, and "No Fear" drifts into hazy, ambient experimentation. This might seem mismatched, but the band masterfully weaves it into a cohesive, signature aesthetic, producing truly inspired impressions and showing a mature confidence. The band is joined by a host of guest musicians and vocalists whose contributions are not insignificant; I was especially taken by the pronounced keyboard work as well as the distinctly tight vocal harmonies. The fact that the majority of the tracks were recorded live in the studio adds a significant layer to the album's charm, lending an organic, breathing quality to the music. Spontaneous looseness is countered with an airy, joyful atmosphere and a tangible sense of collaborative creation. Double Infinity is not just a success; it is the sound of Big Thief graduating from an interesting indie act to a full-fledged contender, charting a confident course for their future. I'm already eager to hear what they try next. Standout Tracks: “Words”, “All Day All Night” & “No Fear” - Thumbs Up and a Grade of B+.

Hand Habits / Blue Reminder

Blue Reminder is a textured collection of ethereal, alternative rock, anchored by the nuanced songwriting of founder Meg Duffy. My introduction to the band was purely by chance, via my daughter sharing the album’s sole, jazzy instrumental, “(Forgiveness)”—a track whose unexpected, relaxed intonation immediately caught my attention enough to dig in further. Duffy—who has also worked with The War On Drugs and Perfume Genius, both of which I’m an admirer of—has crafted a gathering of tracks that mostly hit a sweet spot of atmospheric rock, relying on subtle arrangement nuances and intimate vocal delivery. The overall sound of Blue Reminder has a strong cohesiveness, even as it strays from 90’s-inspired alt-rock edge and intricately arranged pop to more reflective numbers. And some songs, like “Jasmine Blossoms”, manage to crowd all of the above into the confines of a single song. However, some of the songs do blend in a pool of sameness enough that it makes distinguishing specifics or walking away with particular memorable tracks a bit tricky. This uniformity is what prevents the album from achieving deeper distinction, but in the end, it is absolutely the stirring vibe of all the pieces combined that makes the release ultimately stick the landing. Standout Tracks: “Way It Goes”, “Dead Rat” & “Nubble” - Thumbs Up and a Grade of B-.

The London Suede / Antidepressants

Following the immense pleasure I had reveling in the new release by Pulp, I was super pumped to hear that The London Suede (or Suede, as they are known outside the US) had also released a new album. Better yet, it is almost equally as strong and absolutely pulled me in full force. Producer Ed Buller (who has manned the helm of six previous albums by the band as well as Pulp’s ‘94 release) brings to the full forefront a powerful alternative rock sound that locks in all of the bands charms, while also framing the songs majestically. And the songs are all winners. Seriously, not a clunker in the batch. From the pronounced confidence of “Dancing With The Europeans”, the New Wave glitz of the title track, the anthemic glory of “Broken Music For Broken People”, and the enthralling slow boil build of “Life Is Endless, Life Is A Moment”, there’s not a clunker in the batch—seriously. I have to admit, though Suede was certainly on my radar going all the way back to their beginnings, I never fully committed as a hard-core fan. Their early Bowie worship was interesting, but I didn’t find their sound to lock in quite as much as their Brit-rock contemporaries—Blur, Oasis & Pulp. All of that is pretty much brushed aside with the strength of this new album. It has also inspired me to go back and pay a bit more attention to their last few albums that slipped by. Standout Tracks: “Dancing With The Europeans”, “Antidepressants” & “Broken Music For Broken People” - Thumbs Up and a Grade of A.

Taylor Swift / The Life Of A Showgirl

I should stay upfront that I am not a Swiftie hater. Though the saccharin sweet country-pop music of her early albums would never have been a go-to for me, I was fully indoctrinated by the repeat (that is, non-stop) listens my daughter, June, gave those releases. Following a foray into dedicated pop diva hitmaker, Swift caught my attention a bit more with her indie folk influenced intimate albums. On The Life Of A Showgirl, there is a clear return to familiar, pure pop territory. There really is nothing to dislike about this album, it is only barely removed from the catchy ear candy approaches employed by everyone from ABBA to current Top 40. There is a slick sheen to the production, no doubt, but many of the songs took on such a similar feel they didn’t actually end-up memorable - even though they are built around such standard pop structures that they feel as if you’ve heard them before. The subject matters also seems to walk a pretty strict pop tightrope - everlasting love, life drama, etc. As you could’ve read in my recent reviews of new releases by artists like Lorde and Alison Goldfrapp, I have no problem leaning into dedicated pop music, but I still need a deeper sense of artistry to fully be convinced. In the case of both Lorde & Alison Goldfrapp, they delivered that nuanced addition fully. This collection feels much more focused on commercial appeal—and there’s nothing wrong with that—but to my ear, I was only mildly engaged, and speaking truthfully, it felt like I was getting a pre-packaged product devoid of any deeper artistry. I have no doubt that this will completely appeal to and hit a sweet spot for true Swifties, but I got all I was going to get after a few listens. Standout Track: “Ophelia” - Slight Thumbs Down and a Grade of C-.

CURRENT ROTATION QUICK TAKES

SEPTEMBER 2025 (2)

INTRO: Thoughts on a few more new releases before September comes to an end. Check them out and enjoy!

Mary Chapin Carpenter / Personal History
Mary Chapin Carpenter’s seventeenth studio album is nothing less than a master class in exquisite songwriting. These intimate wonders—recorded with pristine clarity at Peter Gabriel’s Real World Studios—are deep personal explorations, often presenting a somber, reflective tone. Yet, in these confessional and heartfelt creations there is profound beauty and moving emotions. The musical arrangements are subtly restrained, leaning heavily on acoustic instruments and spacious production, and perfectly match the many moments of quiet insight. This collection confirms why Carpenter has long been one of my favorite songwriters. Though she has weaved through folk, Americana, and more pronounced country stylings, it has always been her exceptional songwriting that has made her stand out, and she is an artist I am always eager to hear new music from. More than that, she penned “Grand Central Station” in the aftermath of 9/11, a song I hold as one of the finest narrative works I’ve ever heard. Though seven albums have been released since that classic, I have to admit she had, unexplainably, sort of fallen off my radar. I was glad to come across this new collection. This is definitely one of those albums that demands concentrated focus—you don’t want to miss a thing. There is a clear throughline of looking back, taking stock, and leaning on wisdom gained, a theme powerfully encapsulated by the album title itself and felt deeply in tracks like "What Did You Miss?". More than just a welcome return, Personal History confirms Carpenter’s enduring mastery. Though my admiration for her skills seemed complete, this album has definitely raised the bar and will be one I return to often. Standout Tracks: “What Did You Miss?”, “The Saving Things”, “Bitter Ender” - Thumbs Up and a Grade of A.

The Hives / The Hives Forever, Forever The Hives
The Hives’ seventh album is an economical dose of gut-punch, no frills rock, with deep classic punk roots. I was surprised to learn they had so many albums. They didn’t come across my radar until their fourth, The Black and White Album, with its unstoppable track “Tick Tick Boom.” And though I enjoyed that album as well as other tracks I’ve heard, I have to admit, I was never fully called to be a deep fan. Their music always hit the spot in the moment, given the mood for kick in the crotch rock that didn’t take itself too seriously. This album is more of the same—33 minutes of pure adrenaline and catchy rock. Though my favorite tracks stick closely to the punk formula that first attracted me, I did appreciate the more New Wave-ish influences folded in here and there, most successfully on the late in the album track “Path Of Most Resistance." Queue it and turn up the volume! Standout Tracks: “Enough Is Enough” & “Roll Out The Red Carpet” - Thumbs Up and a Grade of C+.


Curtis Harding / Departures & Arrivals: Adventures of Captain Curt
I have a deep love of this particular on-target fusion of soul & rock. The foundation of these songs is built on a clear, deep respect for soul masters like Marvin Gaye and Al Green. This devotion is the album's magic, lending it an authentic, timeless quality. There is always a risk with such clear foundations making themselves apparent that the music can get lost in comparisons, but Harding does not merely recycle these deep influences; he explores them with a fresh, contemporary view. The result is a collection of tracks executed with surgeon-like precision—many of which, simply put, are bad motherfuckers. It's perfectly fair to draw comparisons to his contemporary, Michael Kiwanuka, particularly in the way both artists tap into this particular genre with such skill and clarity. Where Harding truly elevates the material is in the personal touch he applies. These tracks are both aloofly cool and instantly inviting, built on infectious grooves that deliver undeniable funk and alluring emotion. From the assertive swagger of "There She Goes" to the contemplative depth of "Time," Harding has championed a uniquely crafted artistic gem. Departures & Arrivals is a most impressive layer of modern soul with classic DNA. Standout Tracks: “There She Goes”, “Time” & “The Power” - Thumbs Up and a Grade of B.

David Byrne (& Ghost Train Orchestra) / Who Is The Sky?
My devotion to David Byrne’s artistic spirit runs deep; his catalog, from Talking Heads through his solo and collaborative projects, has gifted my life with treasured musical accompaniments. This history sets high expectations for each new album. To be honest, my first few listens of his latest release—a collaboration with the Ghost Train Orchestra—didn't fully click. But this album has deep charms that can’t be denied. Given additional time, subsequent listens ensured that I was fully tapped in. Each return to the collection gifted a rewarding discovery of another layer or touch. The union of Byrne’s world music rhythms and the Ghost Train Orchestra—a jazz ensemble devoted to modernizing 1920s and 30s swing—seems like strange bedfellows, yet the combination works wonders. The musician arrangements fit squarely into the vast canyon of musical exploration Byrne has mined since his Talking Heads days, but there's a new, mature mellowness that pulls everything together with assurance. GTO provides a sophisticated, syncopated pulse, anchoring Byrne's rhythmic inclinations with warm, articulate brass and string arrangements. The collection is filled with robust songs that bustle with infectious energy and humor. This is best exemplified by the joyous clamor of the standout track “Everybody Laughs,” which uses a driving, almost manic brass line and lyrics that twist everyday anxieties into a wry joke. Byrne has always been a quirky lyricist, and yes, there are a few 'dad joke' inclusions (“My Apartment Is My Friend”), but at 73, he really delivers the goods in not taking reflection too seriously. The pulse of the album is pure Byrne, but the layers are intriguing at every turn: baroque pop strings, mariachi horns, and locked-in grooves—they all find a landing place. The album's maturity is palpable in Byrne’s lower, more contemplative vocal register, particularly on the highlight “When We Are Singing,” where lush strings provide a contemplative counterpoint to the insistent beat. Crucially, Byrne saves room for pure artistry alongside the more palatable tracks, embracing the experimental on numbers like “The Avant Garde.” This added texture and variety prevent the album from settling into predictable territory. Who Is The Sky? is a real gift and a seriously fun listening experience that rewards patience.  Standout Tracks: “Everybody Laughs”, “When We Are Singing” & “I’m An Outsider” - Thumbs Up and a Grade of B+.

CURRENT ROTATION QUICK TAKES

SEPTEMBER 2025

INTRO: There has been so much interesting looking new music lately that I jumped right in and have shared thoughts on six new releases that cover a range of different styles. Give them a listen if they pique your curiosity. Cheers!

Royal Otis / Hickey

On their second outing, the Australian duo have delivered a collection of indie pop that has a pretty face, but not much personality. It’s an album that's neither complicated nor particularly challenging. Interestingly, every single track is a collaboration with a host of professional songwriters - the kind of major hired guns who have penned hits for the likes of Harry Styles, Justin Bieber, and Selena Gomez. I’d never take points away from an album just because an artist worked with outside writers, but in this case, the clear desire for hits resulted in a parade of sameness that wore thin pretty quickly. The songs pulse along unoffensively, but leave nothing memorable in their wake - all dressed up with nowhere to go. Even when compared to like-minded bands like The Drums or Two Door Cinema Club, who write all of their own songs and sound so much more unique, Royal Otis feels like they’re suffering from a limiting case of tunnel-vision. They're using the same '80s New Wave and '90s indie aesthetics, but somehow, the ingredients just aren't playing nice in the blender. My recommendation is simple: listen to the one standout track, “say something.” You'll get a sense of the band at its best, and you’ll save yourself a half-hour you can spend on something better. Standout Track: “say something” - Thumbs Down and a Grade of C-.

Trombone Shorty & New Breed Brass Band / Second Line Sunday Let's just get this out of the way: there's a certain kind of joyous, New Orleans-steeped brass jazz that, if it doesn't get you moving, means you might want to check your pulse. I’ve been a massive fan of the Dirty Dozen Brass Band—the absolute masters of this sound—for ages, so I’m always on the lookout for newer artists working in the genre. To be honest, Trombone Shorty didn’t get on my radar until his 2022 release Lifted, but I was immediately drawn to his spirited take on fusing funk, soul, and jazz traditions. That album was also my introduction to the New Breed Brass Band, as they collaborated on a track together. This new collection, a full partnership release, is a compelling homage to pure New Orleans musical roots. From the first listen, I was completely locked in, and I found myself coming back to it again and again. While I don’t necessarily dislike tracks in this style that feature vocals (the Dirty Dozen are especially good at pulling this off), I did find myself a little less engaged with the two on this album, "Rock The Boat" and "Way Downtown." The instrumental numbers just have so much more of the swagger and grit that I love about this music. All in all, this is a fun and lively collection that makes me feel like I’m right in the middle of a Second Line parade. I'll definitely be returning to it whenever I get in that New Orleans mood. Standout Tracks: “Line Em Up”, “6th Ward” & “Street Music” - Thumbs Up and a Grade of B-.

Alison Goldfrapp / Flux

As a huge Goldfrapp fan who did a full discography deep dive a while back, I’ve been missing Alison’s voice for the last eight years. I have to admit, I inexplicably missed her 2023 solo debut, so this new sophomore album, Flux, was my first taste of her work on her own. And while this release clearly recycles the kind of hypnotic, European dance-pop magic that made the band's 2003 album Black Cherry so successful, it never once felt like the same old thing. I was just so ready to hear her again. This is a bonafide reminder of what an alluring performer she is. With only one exception, the entire collection is filled with songs that are either good or great. Poor "Play It" sputters at take-off and never achieves flight, but every other track soars. The opening five tracks, in particular, are all in that latter group—they're instant, pulsating classics that make the album's second half struggle just a bit to keep up. Still, it manages admirably. This isn’t a groundbreaking release, but with some artists you just want them to do what they do best. And on that front, this album fully delivers. It’s a perfect, welcome reunion. Standout Tracks: “Hey Hi Hello”, “Sound And Light” & “Reverberotic” - Thumbs Up and a Grade of B

Fitz & The Tantrums / Man On The Moon

I hate to say it, but with their new album, Man On The Moon, Fitz & The Tantrums have truly screwed the pooch. I was all in with this band right out of the gate—their first two albums were a perfect bit of campy fun, full of that great retro soul sound. Even when they followed those with more pop-oriented albums, I hung in there because of their infectious spirit and seemingly earnest intentions. I'll add that I’ve seen them live a couple of times, and they are a fantastic band on stage. Unfortunately, the last few albums (as well as a couple of Fitz’s solo outings) have felt like they are stuck in a rusty pop-machine that just isn't working. I have nothing against ear candy or a simple pop concept, but when you know a band is capable of doing pop right, it feels like a complete disservice when they continue to turn out such weak material. This latest album, their sixth, is the worst offender thus far. There was nothing for me to find any joy from; I knew each track was a lost cause before the first chorus was even over. The songs are flat, uninspired, and just plain boring. I'll be sticking with their earlier albums and holding out a little hope that maybe they can still right the ship. But for now, Man On The Moon is a record I'll be actively avoiding. No Standout Tracks - Thumbs Down and a Grade of F.

Pino Palladino & Blake Mills / This Wasn’t A Dream

What do you even call this album? That was the question that came to mind when I started listening to Pino Palladino and Blake Mills' new collection. Part off-center modern jazz, part atmospheric instrumental, part fusion ambient—it’s all of them and none of them at the same time. I’m a little embarrassed I didn’t know the backgrounds of Palladino and Mills more deeply; these two have played with some of the most iconic rockers ever, from The Who and Eric Clapton to Elton John and Bob Dylan. It just made discovering this album all the more exciting. Musically, I found the album to lean pretty closely to the jazz wanderings of guitarist Bill Frisell. It’s alluring, but thoughtfully mysterious modern jazz, with layers of moody sonics and diverse stylings. It also reminded me of the experimental spirit of David Byrne and Brian Eno’s My Life In The Bush Of Ghosts—not in sound, but in its refusal to be easily defined. And while I listened, it was impossible to miss the impact of Jaco Pastorius' iconic bass phrasing on Palladino. What worked best were the reflective pieces. Given a bit more space, these songs brought forward some really interesting and unique moments. What didn't work as well was the 13-minute-plus "Heat Sink." I always applaud a big swing, but the abrasive guitar sound on this one just couldn't reel me in. Overall, I’m so happy to have stumbled on this album. The more I listened, the more I fell in line and came to appreciate its unique vibe. I'll definitely be returning to particular tracks to outfit a keyed-in playlist. Standout Tracks: “Contour” & "That Was A Dream” - Thumbs Up and a Grade of B-.

Cassandra Jenkins / My Light, My Massage Parlor

It's always a cool surprise when a modern artist can deliver something completely unexpected, and Cassandra Jenkins' new album, My Light, My Massage Parlor, did just that. Much like Ethel Cain followed her debut with Perverts (a strikingly experimental sound-collage), Jenkins has now followed her traditional singer/songwriter collection with a completely instrumental one on her fourth album. I found myself wondering if Cain’s bold move might have played at least a small role in inspiring this. I'd enjoyed Jenkins’ previous album, My Light, My Destroyer, on its own merits, and it even included a few brief glimpses of adding texture with field recordings. This new collection is named as a companion piece to that album - with the only real concrete link being a reworked version of the song "Hayley." In any case, this kind of move always signals a heightened sense of artistic commitment over commercial maneuvering. The piano-based tracks are understated in all the best ways. The numbers are lovely, and while I didn't necessarily catch a direct link to her previous work, the music felt like it was telling its own story. It was easy to get absorbed by the quiet narrative it summoned, and I found it rewarded multiple listens. This isn't just an album; it's a mood, a moment of peaceful contemplation. Standout Tracks: "Omakase of Time," "Betelgeuse Masseuse," & "Haley" - Thumbs Up and a Grade of B.

CURRENT ROTATION QUICK TAKES 

AUGUST 2025

INTRO:

Wow - what a great gathering of new music! Rare is it that a single month returns so many contenders for my year-end Top Ten list. I also appreciated that the music - from new artists to old favorites - covered a broad range of sounds and styles. Check out my thoughts and give a listen if you are so compelled. Cheers!

Lorde / Virgin

Lorde is another in a small (& unique) grouping of artists that have threaded the needle of thoroughly convincing both my daughter June and I of their ample talents. June was only eight (and still enamored with Disney pop stars) when Lorde was blowing up with “Royals”, but I have to admit, my attention waned a bit over the years. It wasn’t that I ever simply didn't like what I was hearing - in fact, I quite like each of her albums, but they never pulled me in more than a surface appreciation. That has changed with her latest. It is a true powerhouse. Following the sun-warmed, laidback vibe of her previous collection, Solar Power, Lorde’s fourth album is a career-definer. Before I was even finished with my first full listen I could absolutely tell that Lorde had tapped into an elevated sense of sound and purpose - not unlike exceptional releases by Kate Bush and Madonna - The Sensual World and Ray Of Light, respectively. Lorde’s entire collection is fueled by a deep pulse, a driving heartbeat that summons both urgency and emotion. There isn’t any filler - every song is a complete treasure - and it is such a compelling listen that I kept it on constant rotation for quite a while. This is what artistic pop music is supposed to sound like. In fact, it just doesn’t get much better. Standout Tracks: “Hammer”, “Favorite Daughter” & “David” - Thumbs Up and a Grade of a strong A.

Gloria Estefan / Raíces
I was born and raised in Miami and one of my big musical regrets is not more fully leaning into the treasure trove of Cuban music that permeates that city. I know there were countless opportunities to see some of the finest world music musicians and because I was, as a teenager, so engrossed in catching every arena rock act that hit the Hollywood Sportitorium, it all slipped by me. You didn’t grow up in Miami without knowing about the Miami Sound Machine, but I wasn’t a fan - maybe an arm’s length admirer out of pure Miami pride. Moving from Miami to North Carolina, one of the albums I recall helping me through the transition was Gloria Estefan’s brilliantly perfect Mi Terra - a true A+ album. It was Gloria’s first all-Spanish release - exquisitely adorned with the wide spectrum of Cuban music stylings - and it both reminded me of home while also sparking a much deeper desire to explore other world music. It received non-stop play and became one of my all-time world music favorites, where it still remains today. Hard to believe that was over thirty years ago. Gloria has released other very solid all-Spanish albums over the years, and so I was thrilled to hear that Raíces (meaning ‘roots’) would continue that tradition. Soon to celebrate her sixty-eighth birthday, the album has an expected mature and passionate persona. I really enjoyed everything about this collection. Her voice sounds fantastic, as does the album’s instrumentation, arrangements & production. And, most importantly, it reminds you that Gloria has earned the right to be called the heir apparent to Celia Cruz’s iconic place in Cuban music. Standout Tracks: “La Vecina” & “Chirriqui Chirri” - Thumbs Up and a Grade of C+.

Hammock / Nevertheless

Hammock is a duo I have been following - and deeply enjoying - for years. They are completely dedicated to instrumental atmospheric creations and orchestrate music that could serve as a soundtrack to an artful, indie film or simply as the perfect backdrop for more meditative moments. To dismiss them as pure ambient is a mistake. There has always been a thoughtful and layered musicality to their approach that invites deeper appreciation. Think of the more subdued aspect of Sigur Ros and you’re on the right track. This new collection delivers on, in satisfying ways, continuing the lush arrangements and attention to subtle details that have kept me as a loyal fan all along. Their sound really closes in on the musical equivalent of fog rolling in and completely enveloping you - calming and a bit mysterious. Standout Tracks: “In Distance Pavilion” & “Breath Inside Your Breath” - Thumbs Up and a Grade of B-.

Billie Martin / Dog Eared

Another singer/songwriter that June has turned me on to. I had enjoyed songs from earlier Martin albums, but on her fifth album, the 26-year old Brit has presented a collection that clearly displays significant growth in both songwriting and tailoring arrangements. Unlike the new releases by Lorde & Ethel Cain (which both hit me immediately in a more pronounced way), this collection revealed its charms gently - like a whisper you don’t want to miss. What pushes this album into really sublime areas is the deft attention to what a pronounced impact the little things can make. Literally every track has a touch that delivers it to a more refined place, and made me want to pay close attention to not miss a thing. A tender electric piano line here, a great added musical run of guitar and piano there, or the one use of a subtle sax flourish in “Goodnight Moon” - they all contribute as precise ingredients. Martin’s voice is really fantastic as well - unforced and naturally alluring. It has an airy and calming effect that serves these songs exquisitely. And because of that, I didn’t find a single song that failed to win me over. If anything, this is an album I just wanted to go on and on. For instance, I was so completely hypnotized by the lazy river groove and general vibe of “Leap Year” that the close-out guitar solo (great tone, by the way) could have gone on ten times as long as it did and I would have welcomed it. Not unlike the extended numbers Van Morrison included on Astral Weeks and Veedon Fleece - two more pastoral and effortlessly jazz-inspired albums that share a spirit with this Martin collection. Standout Tracks: “Feelings”, “Clover” & “Planets” - Thumbs Up and a Grade of B+.

The Black Keys / No Rain, No Flowers

The Black Keys started off on the wrong foot with me, but on their last few albums they have leaned into a developed hybrid of 70s soul & pop that expanded their offerings in appealing and significant ways. On their thirteenth album, they continue that trend with earnest conviction. It’s an easy album to listen to. What it lacks in noteable originality it, at least, breaks even with an uncomplicated gathering of mostly solid and palatable tracks. The best moments are those that tap into the retro sounds that Broken Bells excel in. What keeps the album from receiving a higher grade is the fact that in choosing to specifically work with a variety of ‘hitmaker’ songwriters (who have collaborated with the likes of Celine Dion, Justin Timberlake, Madonna, & Kacey Musgraves, among others), the band presents in an obviously formulaic way. Clearly they were after a big commercial sound, and while I found there to be plenty of likable moments, it doesn’t necessarily inspire a ton of staying power. The only major track misstep is the overly cliche, southern rock-ish homage in closer “Neon Moon” - just an ugly swing and miss. The band should have definitely ended the album a song earlier.  Standout Tracks: “The Night Before” & “Down To Nothing”- Thumbs Up and a Grade of C.

Lord Huron / The Cosmic Selector Vol. 1

Do you have a band that you can easily say you like, but also realize you can’t speak to specific albums or songs that pushed you to that opinion? Lord Huron is that sort of band to me. A new album comes out, I give it a few listens, I enjoy what I hear, and then I move on. This is probably a symptom of the modern overdose of exposure to too much music more than anything, but it has kept me from ever developing a more intimate appreciation of their music. That will change with their latest album. It felt like all the things I appreciated about the band’s music more perfectly gelled and caught my attention with this collection’s spirit and identity. The effective atmospheric backdrop that can be gained by cavernous reverb can create such a sublime setting for the right music - especially in the hands of masters like My Bloody Valentine, Slowdrive, Bowie/Eno, and so many others - but it still is really only an effect and needs solid songs and the right touches to fully bloom. Truth be told, I found there to be complimentary similarities with this and Berninger’s album. They both gracefully chase the same sort of muse - reverence for a curated hybrid of echoey Elvis Presley, Morricone orchestration and classic baroque rock. Speaking of comparisons - where Berninger slightly missed the mark on his spoken word number, “Nowhere Special”, Lord Huron knocks it out of the park with “Who Laughs Last” (featuring Kristen Stewart) as the band drives deep into a shadowy groove that David Lynch would have been proud to put on a soundtrack. The album really provides a fully loaded musical journey and I had a hard time moving on - and feel sure I will be returning often. Standout Tracks: “Looking Back”, “Bag Of Bones”, “Fire Eternal” - Thumbs Up and a Grade of B+.

Kathleen Edwards / Billionaire 

I would agree that the majority of my favorite music (all genres combined) are those that have a nostalgic connection - which mostly equates to music I grew an attachment to early on (say between my teens through my mid-twenties). However, there are many artists (& styles), as I’ve gotten older, that really do a great job of scratching a particular musical itch. Straight-ahead singer/songwriters working in the Americana vein are one example. It makes sense that this would resonate with me considering my very early fanaticism with the songs of Paul Simon and then, shortly later, an awakening to Springsteen (especially the brilliant story-songwriting on Nebraska). I will always find time for simple, expertly-crafted songs housed in maturely intimate arrangements. And on her sixth album, Canadian Kathleen Edwards delivers just that. The songs are infectiously likable and drew me in immediately. This was made all the better with the thoughtful & classy no-frills arrangements. Solid musicians layering in heartfelt accompaniment - minus any unnecessary bells or whistles. I have enjoyed previous albums by Edwards, but this collection really popped with me and certainly continues to state a class supporting the clear strengthening of her abilities. There is a pretty equal balance of mid/up-tempo numbers and more intimate ballads that provides a nuanced musical journey. Another thing I love about this sort of collection is the innate ability for appreciation to deeply grow over time - as opposed to, say, being floored by a new sound that sometimes wears off a bit with repeated listens. I have no doubt that my respect for these songs will only increase. Standout Tracks: “Save Your Soul” & “Say Goodbye, Tell No One” - Thumbs Up and a Grade of B. 

Public Enemy / Black Skies Over The Projects: Apartment 2025
Public Enemy’s monumental ‘88 release, It Takes A Nation Of Millions To Hold Us Back (& the brick house strong follow-up, Fear Of A Black Planet), are not only two of the most important and influential hip-hop albums ever, but they set a blueprint as the most impactful voice of frustration since Dylan picked up a guitar. It's unfair to compare any new PE album to their landmark milestones, but it is certainly clear to say that PE still brings the goods. Chuck D is about to turn 65 (& Flavor Flav is 66), so it makes sense that a look back - along with a stern stare-down of mortality - returns again and again as a thematic through-line. This is, of course, paired perfectly with their trademark railing against racial and societal injustice. The feel of this collection is dense and tightly wound. A tapestry of classic 70s soul & funk samples are combined with kicking drums and rock guitar to create a rich and nuanced approach. Chuck D still raps like no other, but now brings an authoritative wisdom that speaks truth on a whole new level. And even Flavor Flav, the true court jester of hip-hop, has never sounded better. In fact, he contributes excellently throughout and probably delivers his best lead rap ever on the track “Messy Hens”. If you’ve never fully entered the world of PE you’d probably be best served to start with their iconic releases, but if you’re a longtime fan like me, this is an album you'll definitely want to give a few spins. There is something deeply comforting knowing that Chuck D and PE are still out there fighting the power. Standout Tracks: “Sick”, “Confusion (Here Comes The Drums) & “Messy Hens” - Thumbs Up and a Grade of a high C+.

Fishbone / Stockholm Syndrome
Fishbone were another big discovery band for me in my late teens/early twenties. Their circus mix of punk-funk, ska-reggae rock was such a unique hybrid and their energy was undeniable. It’s been almost twenty years since their last album, and though this incarnation only contains two of the band’s original members (vocalist Angelo Moore and multi-instrumentalist Christopher Dowd), they still deliver a convincing dose of Fishbone spirit. Unlike Public Enemy, Fishbone has always taken the path traveled by the likes of Sly Stone in delivering bad news surrounded by a funked-up and raucous setting. The lyrics are socially biting, but the band’s real ace has always been the ability to layer joy to the proceedings - making a party out of pushing back. Truth is, though I revered their ‘88 release, Truth And Soul (along with some great singles - namely “Party At Ground Zero”), I have always thought of them at their finest in a live setting.  I’ve seen them several times and was lucky enough to have been in a band that opened for them. I’m glad to see that this new album is getting them on the road. I’d love to see them again. Standout Tracks: “Last Call In America” & “Adolescent Regressive Behavior” -  Thumbs Up and a Grade of a respectable C.

Wet Leg / moisturizer

Based on the promotional push this English band has received surrounding their second album, there certainly seems to be a ready-for-primetime vibe. Unfortunately, I wasn’t able to find solid footing as a listener. Need a starting place to identify their sound? Try second-tier Garbage minus Shirley Manson’s more convincingly dramatic vocals. It wasn’t that the elements were way off-target, but they all fell a little flatline for me, and in a few cases felt overly recycled (like the riff in “catch these fists” only being a sliver away from sounding like a straight lift from Franz Ferdinand’s “Do You Want To”). There is a sharp production sheen to the album, but I thought the band succeeded most when they leaned away from alt-rock and into indie-pop. Truth is, though I did give the full album several listens, I was pretty much ready to move on after the initial run-through. Generally speaking, there just wasn’t much that was memorable enough to pull me back in. What feels like earnest enough performances throughout are all that kept this from being Graded with a D. Standout Tracks: “davina mccall” & “pokemon” - Thumbs Down and a Grade of C-.


Matt Berninger / Get Sunk

I’m a big fan of The National and have always appreciated Berringer’s vocal style and general vibe. Add to that - I really like pretty much everything about this new collection, his second solo effort. There is real movement and lots of comforting space surrounding this gathering of tracks, and I was easily pulled in and carried along each time I queued it up. The songs lean-in when needed and aren't afraid to cut loose a bit - bringing some palpable lightness and joy to the proceedings (not always a box checked by The National). Of course, with lots of solo releases by an artist who are still firmly committed to their band and don’t seem to be after a wholly different musical approach, I always wonder what was gained. That is, if you had told me that this was the new album by The National, you’d have me all the way. I mean this in a positive way - the album is really strong - but it does make me wonder. Trading in songwriting partners from his day-job, Berninger collaborated with Producer Sean O’Brien - who has worked as an engineer on several albums by The National. They don’t necessarily explore any surprisingly new sounds, but the songs are strong and the arrangements work well in support. “Nowhere Special” was the only track that I regularly skipped after the first listen. I get the thing Berninger is after, but it never connected with me. However, it does little to mar the effective way this collection continues to elevate Berninger’s status as one of modern rock’s most distinct vocalists. Standout Tracks: “Bonnet Of Pins”, “Little By Little” & “Silver Jeep” - Thumbs Up and a Grade of B-.

Ethel Cain / Willoughby Tucker, I’ll Always Love You

Of all the artists that June has exposed me to, Ethel Cain - by far - has made the most impactful impression on me as a fully-formed artist. Purely and completely. Cain’s third album - her second in 2025 alone - is a true stunner. Though she had my attention with her debut, Perverts (her artistically challenging atmospheric opus sophomore release) absolutely convinced me that she was a true original and wholly committed to following the darkest tunnels to achieve striking results - commercial expectations be damned. Technically, this new album is supposed to be a concept prequel to the first album, but I didn’t necessarily get pulled in with a clear through-line. What I did get was an expertly played vibe that worked to pull you through each segment and track. There is a deep organic undercurrent that moves through the entire collection. The songs are haunting and beautiful and the cinematic instrumentals add even more space to allow an unnerving sense of dread and longing. And in the standout “Fuck Me Eyes”, I don't know that I’ve ever heard a more perfectly pitched modern take on 80s essence. Just amazing! This is an absolutely meticulous expression of artistry, and it worked to put a sort of spell over me each time I listened, which was many. Put it this way - as much as I listened to Lorde’s latest, I probably tripled that with this album. I simply couldn’t get enough. As I often do with albums that present such a high consistency of presenting a truly artistic musical experience, I’m skipping selecting Standout Tracks. This is definitely an album to be listened to in its entirety. - Huge Thumbs Up and a Grade of A+.