CURRENT ROTATION QUICK TAKES

JULY 2025

INTRO

I distinctly recall the important impact that humor in music had on me when I was younger. Even before I noticed comedic inclinations in rock & pop music, I was made aware of how humorous lyrics or musical ideas could play such an effective and positive role in the cast recordings my parents, theater devotees, played none-stop when I was a kid. Further exposure through the syndicated Dr Demento radio show in the ‘80s in S FL provided me with a fun counterbalance to all the ‘classic rock’ that I was being fed. 

That said, it wasn’t so much the momentary laugh that pure novelty songs produced that stayed with me (for instance, Weird Al songs only ever really seemed to work on me a single time - rarely anything I would be called to return to). Oppositely, more stylized songs had a lasting effect. Tracks that completely worked musically as well as happening to be funny as hell. “Basketball Jones” & “Earache My Eye” by Cheech & Chong, “You Know My Name (Look Up The Number)” by The Beatles, “Big Balls” by AC/DC, “Rapper’s Delight” by Sugarhill Gang  - or, later on, the likes of Spinal Tap, Tenacious D, Steel Panther, etc. Of course, MTV provided a creative visual outlet for artists to express whimsy through imagery even if it wasn’t so strikingly obvious when simply listening to audio alone. “Don’t Come Around Here No More” by Tom Petty & THB or “Who Can It Be Now?” by Men At Work comes to mind. Even when I got into modern alternative music, I appreciated those artists that didn’t always have to take themselves so seriously - Dead Milkmen, They Might Be Giants, Primus, The Darkness, Aquabats, and the like.

I certainly didn’t set out to group the following eight albums I reviewed for my JULY 2025 CURRENT ROTATION QUICK TAKES - in fact, on paper they seem to have no connection at all - but it only took a listen or two of each album to realize that each (in their own unique way) most certainly were interested in including humor as a potent ingredient in their musical make-up. More than that, they end-up pairing nicely, and so are presented in groups of two. As you will read, these albums - in their various & interestingly unique approaches - also earned the most positive reviews I’ve given a grouping of albums in some time. I hope you are motivated to check them out and end up enjoying them as much as I did. Cheers!

Stereolab/ Instant Holograms On Metal Film
I love Stereolab so much, and over the past fifteen years have greatly missed hearing any new music from the group. Though the band did release three fairly solid albums following the tragic death of member Mary Hansen, it did feel like the peak of the band’s mid-90s output was the best/last example of the group’s notable contribution to modern alt/pop. I was certainly excited to hear about a new album, but entered with relatively controlled expectations. Boy, was I immediately relieved and impressed. The album is absolutely fantastic. Not only does it completely dial-in on the band’s unique mojo, but everything pulsates with new energy and liveliness. The retro sound of the future thing that Stereolab master so efficiently is spot-on throughout - there truly isn’t a bad track to be found. My favorite thing about the band is that they are so fun to listen to. There is a sincere playfulness in their choices and instrumentation - leveled by a natural element of ‘cool’ that keeps their sound from devolving. This is more than a strong return to form - it’s a glorious hope for more excellent music from these indie groundbreakers. Standout Tracks: “Melodie Is A Wound”, “Vermona F Transistor” & “Transmuted Matter” - Thumbs Up and a Grade of A.

Surprise Chef / Superb

Surprise, indeed. I had never heard of this Australian instrumental band before - despite this being their fourth album. If you’ve read my reviews you know I’m a fan of instrumental music, and my admiration of this collection supports that stance. What stood out to me most was the spread of sounds and the way the music seemed to work in a variety of settings. It played great in my Jeep driving around with windows down, but also felt like a solid accompaniment to reading. Because of the inclusion of vibraphones, I was immediately reminded of the iconic work of 90s instrumentalists Tortoise, but whereas that band seems to follow a tightly-wound compass, Surprise Chef takes their sound to a looser, more groove-centered place. There are definitely some jazzy and soulful twists and turns - for instance, “Dangerous” could have almost played well within the confines of the Stereolab release. Bottomline, I really liked what I heard - earning the band a promise that I’ll be going backwards to check out earlier releases, while also looking forward to new music. Standout Tracks: “Sleep Dreams”, “Consulte Case”, & “Tag Dag” - Thumbs Up and a Grade of B.

Mother Mother / Nostalgia

Try as I might - and I have earnestly come at his music in various ways - I just have never been able to turn my general respect for the music of Frank Zappa into a deeper enjoyment. Nostalgia, the Canadian band’s tenth album is such a perfectly crafted collection of alt-rock that I thought when listening, more than once, that this is sort of what I was expecting (or, at least, hoping for) in Zappa’s output. Smart, sharp, clever, & artistically intriguing. Though I wouldn’t have previously called myself a devoted Mother Mother fan, I have enjoyed previous Mother Mother albums. However, I had never been so convincingly pulled in as I was with their latest. There was an immediate reaction of pure admiration that only grew stronger as I got to know the songs more intimately. The collection certainly seems to be the best showcase of the group’s three vocal (one male, two female) approach. The more streamlined indie-rock arrangements work beautifully to provide each track with a real life of its own. On the musical-theater front, I was often reminded of one of my all-time favorites in a similar vein, the completely brilliant Hedwig & The Angry Inch (written by Stephen Trask & John Cameron Mitchell). Mother Mother’s latest, as the title suggests, is an unflinching look back. Lyrically they score big points throughout by both earning laughs and heartfelt connections. Hard to imagine the band outdoing themselves following such a stellar release, but I will be happy to continue listening to this one while I wait with high expectations. This is definitely one of those albums that makes you pay attention and reevaluate the echelon of where you hold a particular artist. Standout Tracks: “Love To Death”, “Make Believe” & “Me & You” - Thumbs Up and a Grade of a pronounced A.

King Gizzard & The Lizard Wizard / Phantom Island

This was a super entertaining album - the band’s 27th since their debut in 2012. Yeah, you read right - twenty-seven albums in thirteen years! And like the Mother Mother release, it not only pulled me in for lots of repeated listens, but returned the time with a reward of deeper respect for the material and arrangements each time. Nailing down this Australian band’s sound is tricky. This is made trickier as they have earned a reputation for regularly jumping genres - literally from garage-surf rock to heavy metal to psychedelic prog to synth-pop. Even on this album - which was recorded with a full orchestra and has a fairly uniformed classic rock sound - they feature an interesting blend of styles. Echoes of Bowie exist throughout, but it competes with The Who’s full-tilt Quadrophenia-era approaches, Beatlesque baroque pop, Jethro Tull’s more pastoral prog musings, & modern psych-rock ala The Flaming Lips. In the end, it all makes for an expansive and wondrous journey. Lyrically, there is no missing the through-line of flight as a constant touchpoint subject. Whether exploring the cosmos in a spaceship or considering a leap from a high cliff, escape of some sort through liftoff appears to be the goal, and through genuine humor and playfulness, the layer added to the overall effect is simply fantastic. There is really nothing about this collection that I don’t like. I offer this as a testament to how impressed I am: I will definitely be going back to make sure I haven’t missed any other gems in the band’s prolific output. The band also earns bonus points for wonderfully inventive and striking album cover artwork. Standout Tracks: “Eternal Return”, “Spacesick” & “Aerodynamic” - Thumbs Up and a Grade of well-earned A.

Little Simz / Lotus
Female rappers have almost solely been responsible for my continued love of modern rap - uniqueness of delivery and a broader sense of experimentation & artistry being the prime reasons. British rapper Little Simz was already on my radar with her 2021 breakthrough album, Sometimes I Might Be Introvert, and I was pumped to hear that with her new collection, album six, she continues to blur the line in defining her version of modern hip-hop. As an MC, she is beyond formidable with a deft touch of delivering aggressively sharp lines side-by-side reflective, poetry-inspired passages. Pointed and confidently sly - she has a style that simply made me want to deepen my appreciation of the tracks with repeated listens. Musically the album scores additional points for employing musicians to add authentic aspects of funk and jazz into the layered approach. It would be a fair comment to say that the slower second half of the album doesn’t pull quite the same rapt attention as the first, but I’d counter that it simply gives room to show other sides of this talented artist. For instance, the late album track, “Lotus” (featuring Michael Kiwanuka), is a real stunner and just as poignant as the upbeat numbers that open the collection. Solid - through & through. Standout Tracks: “Thief”, “Young” & “Lotus” - Thumbs Up and a Grade of B-.

Leikeli47 / Lei Keli ft. 47 - For Promotional Use Only 

Leikeli47 rightfully blew-up with “Chitty Bang”, the undeniable single from her 2022 album, Shape Up. On her fourth album, the almost reckless sense of experimentation (with a healthy mix of playfulness) continues with utter confidence. She is still understandably proud of her calling card single (“Chitty Bang” is referred to in two different tracks on this album), but she does more than enough to prove that she is far from a one-trick-pony. There is plenty of variety to keep the collection from ever feeling predictable, but more than enough cohesion to present a thoughtful artistic statement. Like Missy Elliot before her, Leikeli47 seems laser-focused on pushing herself and challenging her audience to keep up. The album’s most effective draw comes down to a skillfully curated and endlessly inventive collection of styles weaved into the musical tapestry that make up the various tracks. This is combined with Leikeli47’s range of MC styles and attitudes, used effectively to endlessly entertain, while also keeping the listener guessing. To be sure, it is not an accidental success - it is obvious attention to detail is what makes this collection really pop. Standout Tracks: "passenger 47”, “450” & “starlight” - Thumbs Up and a Grade of B.

Sparks / Mad!

Sparks was a band that hit me, initially, as a novelty act. My evidence was the mildly quirky one-off 80s single “Cool Things” that featured Jane Wieldlin of The Go-Gos - really the only reason for me to be drawn in. Over the years I had given a few of their albums cursory glances, but nothing really caught hold. It wasn’t until the one-two combo of their 2023 release, The Girl Is Crying In Her Latte (which only barely missed out on making my personal Top Ten that year), and the excellent documentary, The Sparks Brothers, that I felt compelled to once again to look back. This exploration returned deep respect more than musical affinity, but I certainly was interested to see what the duo was up to on their twenty-sixth studio album. Unfortunately, this album ends up feeling like a big misstep. One after another, the tracks play out as sophomoric dad jokes gone wrong. The few clever musical ideas that poke through are all-too-soon swallowed up by unnecessary repetition that inevitably runs things into the ground. While I would have been happy to simply move on after my first listen, I returned a few times in hope that I was missing something. Sadly, I never came close to finding out what that was. Standout Track: “Drowned In A Sea Of Tears” - Thumbs Down and a Grade of D-.


Pulp / More

Twenty-four years have passed since the last collection of new music by Pulp, and despite a reunion tour last year, it seemed like a fact we simply had to accept. Though they stood toe-to-toe with Brit contemporaries Blur & Oasis during their 90s heyday, Pulp always came across to me as the slightly smarter, artsy kid brother (with Blur striving to hold the torch lit by The Kinks and Oasis happy to sweep up a general sense of easy-to-consume modern Beatlemania). Jarvis Cocker and band didn’t always make it easy to be in on their jokes - you had to earn the punchline. Through both the band’s lyrics and musical accompaniments, the group delivered razor-sharp and consistently interesting output. Every single high expectation I had for this new collection was not only matched - in most cases, those high hopes were bested. This is English songwriting & performance of the highest order - neck and neck with the most sharply crafted work of Elvis Costello or Joe Jackson. That is to say, simply existing on a higher plane. There isn’t a single misstep to be found, and better yet - my admiration continues to grow with each listen. And I don’t want to stop! More is a home run any way you come at it. In fact, at this moment - hot on the heels of not wanting to stop playing it - I would call it the band’s finest collection thus far. This is a must-listen album. Standout Tracks: “Spike Island”, “Grown Ups” & “Farmers Market” - Big Thumbs Up and a Grade of A+.

 

CURRENT ROTATION QUICK TAKES

JUNE 2025

INTRO: For the past few months you might have noticed that I have folded-in a few recommendations from my daughter, June. Given the month, it felt like the perfect time for a full JUNE’S JUNE TAKE-OVER. Thus, all eight of the albums I share thoughts on this month are new releases that June has suggested. The good news is that - Spoiler Alert - nothing sucks. Even if some of these don’t get wholly positive thoughts from me, it is mostly because I’m just not the right audience. As a big music fan - regardless of how rabidly you still follow and keep up with new music - you can pretty easily reach a point when certain sounds simply don’t surpass music in the same realm that you have been listening to for years. Call it ‘genre fatigue’, if you will. So not totally a condemnation, but more of a particular personal limit. The better news is that these suggestions confirm what I already knew - that June has some great ears. The kid listens (mostly) to really solid music - and I certainly enjoyed checking these collections out. I’m counting on June to keep me 'in the know' regarding other new artists that I might not normally dial up on my own.

Lucy Dacus / Forever Is A Feeling

Though this is Dacus’ fourth solo release, I admit that it was her being part of newcomer alt-supergroup boygenius (and the love that June had for that album) that initially exposed me to her music. It seems like the success has done only positive things for Dacus. That isn’t to say that her previous, pre-boygenius albums were lesser affairs, but there is certainly a maturity and confidence that elevates this entire collection. From the intriguing string instrumental that opens the album, the musical twists and turns are plenty and they all feel worth the time. Anchored by Dacus’ excellent songwriting, I found myself not just rooting for the tracks, but becoming fully enamored. The various atmospheric sonics all fully do their part supporting and augmenting. This album certainly stands as a winning collection and I look forward to further appreciation with continued listens. Standout Tracks: “Big Deal” & “Best Guess” - Thumbs Up and a Grade of a convincing B.

Bells Larsen / Blurring Time

The musical setting for this sophomore effort by the Canadian singer/songwriter is one I am well accustomed to as a regular starting place from hearing much of the music June is drawn to. That is, intimate (almost hushed) folk-based music with simple arrangements and tasteful instrumental/vocal accompaniments. The economical 30-minutes of this collection hits many on-point moments. I especially appreciated the tracks that layered in subtly added steel guitar work & light drums, as well as the two numbers sung in French. The sublime soprano/tenor vocal harmonies are both the big draw and the real heart of the album - as it represents both sides of Larsen’s transition. This is more fully framed and shared through the highly confessional lyrics. The overall effect stands as both unique and thoughtful. Standout Tracks: “514-415” & “The Way The Wind Blows" - Thumbs Up and a Grade of C+. 

Renny Conti / Renny Conti

This looks to be the 4th full album by the New Yorker, but as I had never heard of him I came in completely blind. There was much to recognize as he employs a fairly palatable arsenal of alt-pop touches. The melodies work and the instrumentation is just messy enough to convince that his intentions are earnest. I liked this collection - in that it was an easy listen (& easy to return to). There is also just enough song-approach variety to keep things from feeling monotonous. At only twenty-one, it feels like a safe bet to keep an eye out for future releases in hopes that Conti further develops his naturally-given core talent. Standout Tracks: “South Star” & “Future Burning” - Thumbs Up and a Grade of C+.

Addison Rae / Addison

June warned that I might not like this album because it was ‘too pop’. They know better. Considering the steady flow of female-fronted pop music that has been a regular inclusion in our music playing at home - from Donna Summers & Madonna to Sara Bareilles & ABBA - June should know that well-crafted pop music will always find a spot in my music rotations. What doesn’t work for me on this debut album by the Tik-Tok dancer-turned-singer is that I’m just not the audience for this collection. All the best parts of the production work are clearly lifted from the likes of 80s Janet Jackson records (dumbed down with LOTS of pop cliches), but the lyrics & safe pop choices don’t give me much to lean into. I get why June likes Rae, but at barely 30-minutes (feeling more like a collection of singles than a full album) and pretty flatline approaches, there just isn’t anything for me to hang a hat on. I’ll stick with my classic Madonna & Janet Jackson albums. Thumbs Down and a Grade of D.

Kevin Atwater / Achilles

There is a very likable breeziness that permeates the entirety of this full-album debut from the Illinois native. Adopting plenty of Nick Drake hushed touches, Atwater shines with the deft touch of layered vocals and thoughtful arrangements. I especially liked that he stretched those arrangements to stray outside of purely intimate guitar songs. The addition of drums and extra instrumentation throughout added nicely to the collection. If I had to offer a slight criticism, it is that each time I finished the album, I wasn’t left with much that was deeply memorable - that is, beyond the general feeling that the songs were pleasant enough. Of course, this might have improved had I become more intimate with the songs from repeated listens, but despite enjoying what I heard over a few concentrated listens, I just wasn’t compelled to go any deeper. Standout Tracks: “Jamie’s Daydreams” & “Lonely Gift” - Thumbs Up and a Grade of C.

Blondshell / If You Asked For A Picture

A deeply confessional and intimate approach to songwriting is clearly a component that June is drawn to. I get it - it is alluring to experience a shared aligning of life/age experiences with an artist through their work. The sophomore effort by Sabrina Teitelbaum (working as Blondshell) takes the hushed bedroom production of many of June’s favorites to a pure 1990's landing place. There is much throughout this collection that would have floated easily amongst the likes of The Cranberries, Hole, Garbage & Veruca Salt. Blondshell wears it well and totally convinces as more than simply being a ‘borrower’ of these established sounds. There is a sureness in her commitment and the entire album plays out with plenty to offer and return to. Standout Tracks: “What’s Fair” & “Toy” - Thumbs Up and a Grade of C+.

HAIM / I Quit

From the first time I heard HAIM’s breakout single, “The Wire”, I liked the way they used ‘70s rock/pop foundations through a modern filter. What I didn’t previously notice as strikingly (as is the case on this album), is the inclusion of the sort of west coast cool ‘90s approaches that served Sheryl Crow so well. In fact, HAIM’s latest effort seems to insist on the listener being clued-in as they bookend the album with samples that scream ‘90s pop - opener “Gone” benefits from George Michaels’ “Freedom ‘90” and U2’s pulse & guitar riff from “Numb” serve as the anchor of closer “Now It’s Time”. None of this hinders a collection that is both easy to listen to and is inherently likable. And if you’re going to move on a Janet Jackson groove, “Relationships” is how you do it successfully - Addison Rae should take note. Though I did enjoy the album, the only reason I won’t give it a higher final Grade is that I simply don’t see myself finding much reason to return (other than, perhaps, pulling a track here & there for a specific playlist). Again, this has less to do with quality than it does me simply not being its audience. I’d wager that it will, rightfully so, provide June with a perfect summer listening companion. Standout Tracks: “Down To Be Wrong”, “Lucky Stars” & “Try To Feel My Pain” - Thumbs Up and a Grade of a strong C+.

Bon Iver / SABLE, fABLE

Considering June was only two when Bon Iver’s first album came out, this act was the only one I can try to take credit for in exposing June to. However, my guess is that Bon Iver hit June’s radar through his/their collaborations with Taylor Swift. The latest album, the band’s fifth, offers an alluring expanse of sounds and songwriting emotions. One of the stars of this new record is the interesting way acoustic instrumentation coexists with an assortment of electronic flourishes and studio effects. While not necessarily challenging, it does keep the listener guessing or (at least) wanting to lean-in a bit more to not miss subtle additions to the overall musical tapestry. Turns out that intimate folk and soul-pop make great bedfellows. There is a flow to this album that is infectious and I truly felt engaged with each listen. Also, Danielle Haim from HAIM lends vocals to “If Only I Could Wait”. Overall, SABLE fABLE is a solid collection that delivers on pretty much every front - making it my favorite of June’s suggested albums. It is also an outstanding headphones record. Standout Tracks: “Speyside”, “Awards Season” & “Everything Is Peaceful Love” - Thumbs Up and a Grade of B.

***I feel inclined to include one Honorable Mention. As part of June’s original eight suggestions, I discovered that one of the albums had actually been originally released in 2024 - with only the ‘deluxe’ version (& two newly added tracks) coming out in 2025. June provided a replacement, but I did want to say that I super enjoyed the release: Trail of Flowers by Sierra Ferrell. It's a highly engaging bit of new country - that is, music and songwriting steeped in country music roots traditions through the eyes of a striking new talent. Truthfully, it probably would have earned my top spot of appreciation out of the albums June selected. Highly recommended.

 CURRENT ROTATION QUICK TAKES

MAY 2025

INTRO:

This past month's listening was a really excellent mix of excitingly new releases coupled with some interesting looks back. Check them out if they sound up your alley or if you're looking for some new music to explore. Cheers!

Arcade Fire / Pink Elephant

This is a fantastic album, and solidifies in my mind Arcade Fire’s status as one of the most artistically consistent ‘modern’ bands. Thematically, you wouldn’t need to be all that clued-in to the turbulence that the band experienced since their last release (multiple accusations against Win Butler of sexual misconduct that ultimately led to no legal charges) to pick up the thread of discontent, mistrust, questioning and recovery. The songs practically scream it out, but it does summon a through-line that makes the collection especially connected. Sonically, Co-Producer Daniel Lanois seems to have included the highly capable bag of tricks that helped him elevate projects he Produced with U2 and Peter Gabriel. Texture wins the day and the movement between the various feels displayed offers up a real feast for the ears. From the opening moody instrumental drone to the bombastic seven-minutes plus closer, this album travels a twisty road lined with new discoveries and  familiar landmarks. While the album isn’t on the same iconic level as The Joshua Tree or So, there is a lived-in maturity that makes it succeed on almost every level. Albums like this (and so many others the band has released) are the building blocks for becoming a ‘classic rock’ act in time. Standout Tracks: “Pink Elephant", “Year of the Snake” & “Circle of Trust” - Thumbs Up and a confident Grade of A.

Samia / Bloodless

Another major on-target recommendation from June. The trend continues in receiving heads-up on emerging new singer/songwriter talent. Drinking from the same inspirational pool as many of the artists June has turned me on to (Faye Webster, Clairo), Samia’s third release does an admirable job of showcasing the strength of her songs and solid arrangements. Really, there’s only two reasons anyone would incorrectly dismiss this collection citing ‘sameness’ of sound as the reason. A - this style of music just isn’t your thing or B - you didn’t take the time to become more intimate with the variables at work. That is, there is no more sameness of sound than there was on one of Linda Ronstadt’s iconic late ‘70s albums. And truth is, in this case, it just isn’t an accurate take. Samia - with the aid of an excellent backing band and deft production work - delivers a pretty wide palette of sounds. These songs travel from well-worn intimate confessions to pristine and fully fleshed-out alt-rock. Or in the case of a track like “Carousel” - both within the confines of a single number. Not everything completely succeeds on the same level, but the positives are plenty and I hope this album serves as a catalyst for this ‘must watch’ artist. Standout Tracks: “Lizard”, “North Poles” & “Pants” - Thumbs Up and a Grade of B.

SYML / Nobody Lives Here

I will never feel a need to defend my pure love of heart-string pulling, expertly-crafted pop. Especially a purveyor like Brian Fennell (working under the moniker SYML) who so convincingly won me over with the 2007 track “Please Don’t Go” from his former band Barcelona’s debut. Sure, I won’t deny that the songs contain a pre-wrapped emotional punch that can feel both a tad predictable and (by the time you reach the end of this economical 32-minute collection) atmospherically similar. In the end, I found each track to contain more than enough earnest honesty. These are the type of songs that Fennell excels at and he has delivered a batch that works for me on every level. Standout Tracks: “Please Slow Down” & “The White Light Of The Morning” - Thumbs Up and a Grade of B-.

Cradle Of Filth / The Screaming Of The Valkyries 

I would say there are three types of metal fans. One - Gen Xers like me reared on the classics (foundational hard rock of Sabbath & Zeppelin, British New Wave of Maiden & Priest, and the clean-up sweep of punk & 80s hair metal). Two - more extreme fans that revel in thrash & black metal bands. Three - my colleague John! To look at the dude and judge a book by its cover, you’d easily assume that he’s a big James Taylor fan, but trust me when I say he completely walks-the-walk when it comes to the darkest and most extreme metal out there. Though not my normal listening fare, I love tapping recommendations from him to explore music outside my regular scope. Often it leads to just a cursory education on my part, but every once in a while I find myself completely engaged. Such was the case with the fourteenth album by Britain's Cradle of Filth. John gave it a plug and I dug in. As compared to less successful outings I had with older CoF albums, this one hit a balanced stance of metal muscle and grand (nod & wink) theatrics that made it both entertaining and palatable. The album also definitely makes me want to see the band live. Not everything worked flawlessly - “Non Omnis Moriar” and “White Hellebore” were overly symphonic and the pronounced add of the female vocalist diluted things in negative ways - but I found myself definitely tuned-in for the majority of the collection. Standout Tracks: “To Live Deliciously” & “The Trinity of Shadows” - Thumbs Up and a Grade of C+.

Suzanne Vega / Flying With Angels

I fell hard for Suzanne Vega with the release of her major break-through album, 1987’s Solitude Standing. Way more than her career-making hit single “Luka”, the biggest impact on me was the delicate way her expertly crafted songs were cradled in such thoughtful musical settings. She followed that commercial success with several albums into the early 2000s that mined a range of really interesting sound textures and retro-fueled exploration - all buoyed by her excellent songwriting. On this latest collection (her first proper solo album in over ten years), Vega seems laser-focused on both looking back and staking claim as a songwriter that has inspired dozens of modern performers. There is much in the styling that surrounds this collection which lands neatly in the pocket of Solitude Standing’s iconic status without feeling overly rehashed or seeming like a crutch. That’s not to say that she uses a limited musical palette. “Love Thief" breezes in with a 70s vibe and “Witch” & “Rats” carry alt-rock nuances. I have always thought of Vega’s vocal delivery as very akin to Bob Dylan’s. Prettier for sure, but with the same conversational casual approach, and that continues to work with these new songs. Perhaps not standing shoulder-to-shoulder with her finest - a high bar, indeed - this collection works in so many ways and certainly serves as a reminder of Vega’s undeniable charms. Standout Tracks: “Speakers’ Corner”, “Love Thief” & “Alley” - Grade of a high C+.

Sleep Token / Even In Arcadia

I’m all for experimentation in sound - even within the confines of a single album. I’m usually quick to applaud a band/artist for pushing beyond their own comfort zones and swinging for the fences in creating new musical hybrids. However, sometimes this casting of a wide net exposes glaring weaknesses through a sort of musical schizophrenia. On the ‘masked’ British band’s fourth album, they don’t stray far from the sound they have cultivated on their previous releases, but it does feel like they double-down a bit in the excessive dramatics category. Indie R&B and pop-sheen-layered metal wrestle throughout in this strange bedfellows mash-up. Almost all of it ended-up missing the mark for me. The pop stuff felt too one-note and completely blurred together as indistinguishable by the time I worked through the album, and their metal inserts felt awkwardly forced and over-produced. The final monstrous metal implode of closing track “Infinite Baths” was the only time their metal side felt even slightly genuine - but as it followed an almost five-minute pure pop, R&B-tinged set-up it comes across standing as a pronounced exclamation point on how mismatched this collection was throughout. Just because you CAN force two things together doesn’t mean you should. One firm positive I will offer is that I totally dig the cover artwork! Standout Track: “Emergence” - Thumbs Down and a Grade of D.

Kara-Lis Coverdale / From Where You Came

At its core, there is no denying that Coverdale’s fifth album of atmospheric instrumentals is dedicated to alluring and hypnotic soundscapes. This feels like a meditative, indie-film soundtrack through and through. Or maybe an homage to those synth-driven soundtracks from the ‘70s (thinking specifically of Jerry Goldsmith’s excellent work for Logan’s Run). And while it might not be the most strikingly original release within this particular genre, I did find myself being actively engaged by moments each time I listened. I also appreciated that despite a very fluid feel to the collection, Coverdale created some needed tension moving from ambient drone to active Philip Glass-inspired sections. Standout Tracks: “Eternity” & “Flickers In The Air Of Night” - Thumbs Up and a Grade of B-.

Pink Floyd / Pink Floyd at Pompeii – MCMLXXII

When I started writing these QUICK TAKE reviews, I made a personal promise to leave-off live albums or remastered collections, but sometimes rules are made to be broken. Hearing that none other than Steven Wilson (the mastermind behind the modern prog band Porcupine Tree who has made a HUGE name as a dedicated loyalist in bringing the best out of remastered versions of classic 70s prog - Yes, Jethro Tull, King Crimson, etc.) was responsible for this remastered release, I knew I had to make an exception. Though I would definitely call myself a heavily intimate Pink Floyd fan, my gateway drug (because of my age) was The Wall. I was obsessed with the album (I thread the line, like many Gen X fans, that originally bought it on vinyl and then again on CD a few years later), and in one of my most daring rock n’ roll acts of rebellion (at 13) I sneaked out of my bedroom window at night to get catch a ride with my older cousin to make a late showing of the The Wall movie at Riviera Theater in Miami - somehow faking my way into the R rated film. All of this is to say that I had to go backward with Floyd to fully flesh-out their full discography. I truly loved all aspects of the road the band navigated and though I certainly dug deeply into their history, the film version of Live At Pompeii probably received my least attention. Mainly, I’m guessing, because of the fact that there wasn’t a released soundtrack. All that said, reveling in the glorious haze that is this monumental recording - pristinely fine-tuned by Wilson’s masterful hand - was pure joy. The songs are all well known to me, but this recording delivers such an impactful gut-punch as a reminder of what fearless and groundbreaking explorers Pink Floyd were - even before they made their most celebrated and timeless contributions over the following decade. Do yourself (& your ears) a huge favor and find some dedicated headphone time to settle back and discover (rediscover) the peak of late-psychedelic art-rock at its very finest. Standout Tracks: This is a full-album experience that should be listened to in its entirety - Huge Thumbs Up and a Grade of a high A.

 CURRENT ROTATION QUICK TAKES

APRIL 2025

INTRO:

I had originally planned to cover eight albums this month, but something about these six drew me in to listen to (and re-listen to) far more times than I originally expected - in most of the cases because I really liked what I heard and wanted to dig deeper with my appreciation. Check them out if they sound up your alley or if you're looking for some new music to explore. Cheers!

My Morning Jacket / is

From my Gen X vantage point, ‘classic rock’ starts with the first album by The Beatles and wraps with The Wall. I love 80s music - particularly the various strands of New Wave - like it is part of my own being, but it’s tough to call “Sunday Bloody Sunday” or “Jump” legit ‘classic rock’ tracks. Though they are certainly ‘classic’ tracks, the timing is just off. Maybe it’s because labeling them such just makes me feel too old. That said, it is always great to hear more modern artists that feel very much a kindred spirit with those foundational rock acts of the 60s & 70s. My Morning Jacket is definitely one of those bands and they have, on their tenth album, furthered their cause in a range of appealing ways. Truth is, the band isn’t all that easy to pigeonhole. I could certainly point out elements of their make-up that draw comparisons to ‘70s bands, but they manage to fuse a sound that lands in pretty unique territory. This stance is expanded further on their latest as (for the first time) they enlist an outside producer - namely Brendan O’Brien. The winning vibe of this album seems to be generated from their well-earned confidence in who they are. I especially enjoyed the lighter, more lived-in numbers that reminded me (in all the best ways) of ‘70s McCartney & Wings. Great album - not a single weak song!! Standout Tracks: “Everyday Magic”, “Time Waited” & “I Can Hear Your Love” - easy Thumbs Up and a Grade of A.

Mumford & Sons / RUSHMERE
Fuck the haters. Mumford & Sons hit as big as they did because they did something different - extremely well and with palpable earnestness. You can try to side-step the hipster accolades, but in my mind, that just sets you up as the true poser. Melding roots Americana with British folk music in exciting ways, they earned a well-deserved popular status - and none of the dismissals that came their way. I’ll add that they are a hell of a live act! With their first new release in seven years, I find them about where I’d expect. That is, more mature and leaning into their strengths. This isn’t a perfect collection and the second half of the collection does completely surrender to the heartfelt ballad side of their sound, but there is no denying the inherent beauty - especially given the right mood for listening. The fact is that when everything clicks it is a formidable reminder of the targeted talents that the group brings to the table. Standout Tracks: “Caroline”, “Rushmere” & “Where It Belongs” - Thumbs Up and a Grade of B-.

Playboi Cardi / MUSIC
Admittedly, my deep love of hip-hop only (mostly) extends through Ready To Die in 1994. Truthfully, though I check-in on new releases here & there, it has only been the ladies (Tank & the Bangas, Doechii, Ice Spice, Leikeli47) that have caught my attention. As is becoming a regular occurrence in my monthly posts, I checked this one out at the recommendation of my daughter, June. The whole ‘mumble-rap’ thing was never really on my radar and so - though Playboi Cardi played a key role in that movement - he was unknown to me. The first track on his latest album had me - totally. “POP OUT” immediately reminded me of the muted, other-worldly production beats that facilitated Eric B. & Rakim’s underground ‘88 triumph, Follow The Leader. Unfortunately, things spiraled after that. After giving the full album several listens, my issue overall simply comes down to restraint. At 35 tracks (8 of those under two minutes) and an hour & a half of music it feels like there’s either an over-inflated sense of self-worth or that PC is simply surrounded by a crew offering too many YESes. I will keep this artist on my radar in hopes that a future release stays more focused on the sound that made “POP OUT” so successful. Standout Track: “POP OUT” - Thumbs Down and a Grade of D.

Branford Marsalis / Belonging
I realized recently that Branford Marsalis leads the list of artists I’d seen live the most times. 10 times (plus once playing w/ Sting). Marsalis is an artist I appreciate to the umpth degree. Watching him live has always felt akin to watching a master painter go to work on a blank canvas. Not only has every performance been completely unique (& with a variety of ensemble set-ups), but there is a true electricity to the more intimate theater settings that accompanies live jazz of his caliber. With over thirty albums (studio releases & soundtracks) and dozens of collaborations to his credit, he continues to wholly engage and impress with every single project. Belonging is no exception - more than that, it is a truly engaging modern jazz album that is built on groundbreaking foundations with a focus on moving forward. There are definitely challenging numbers - no one can ever make a case that Branford plays it safe or caters to set expectations. I always feel the need with jazz and classical albums I review to state that I come to them with nothing but what they inspire in me emotionally. That is, I don’t carry deep knowledge of theory, but with music as powerful as Marsalis delivers, there is no missing the gut reaction I experienced throughout my listening. Standout Tracks: “Solstice”, “Belonging” & “The Windup” - Thumbs Up and a Grade of A.

Craig Finn / Always Been

The Hold Steady, of no fault on their part, has always been a peripheral band for me. I’ll check them out when they hit my radar and I usually like what I hear, but for some reason they are rarely a go-to for me. Flowing with that, though I consider Craig Finn a commendable singer/songwriter, I am just simply not super familiar with his six previously released solo albums. Following my enjoyment of his latest, that is going to change. As a foundational fan of singer/songwriters (meaning that singer/songwriters make up the majority of my favorite music), I fell right in with this collection from first listen - a return that only grew as I became more intimate with the song structures and highly-tasteful arrangements and performances (no doubt, significantly augmented by Producer Adam Granduciel from The War On Drugs). Truly, only Finn’s spoken-word numbers end up not hitting the target for me. Overall, the many high points win the day and Finn’s detail to so skillfully crafting such poetic takes on everyday life is really a treat to take-in. Standout Tracks: “Bethany”, “People Of Substance” & “Luke & Leanna” - Thumbs Up and a Grade of B.

Deafheaven / Lonely People With Power

We like what we like. And some music - well, we just don't. There were few musical moments (the majority of “The Garden Route” and the opening sections of “Heathen” & “Amethyst”) on this collection that really intrigued me, and had the album explored those a bit more, I’m sure I would’ve definitely been pulled in. However, in the end, it’s those ridiculous vocals that throw the train, violently, off the tracks. I just can’t hear them and think anything other than ‘Is this a joke?’. I get that it’s a whole trend and that this dude isn’t the only one that vocalizes like this, but it’s such a showstopper for me. Maybe, if I really tried, I could imagine small sections of certain tracks benefitting from that gutter stuff as an accent, but whole songs? No thanks. This particular case is made worse, as a track like “Heathen” actually starts with actual singing only to dissolve. It really feels like a missed opportunity. I will add that there are moments of this album - purely from a musical standpoint - that feels like pretty corporate metal. That generic kind of symphonic shit that is super bland and not very interesting. It’s also super obvious that production levels are unbalanced – some tracks being super compressed and others overly bright. The ship already sank by the time I got around to those criticisms, so we’ll call it rust on the hull laying on the ocean floor. Standout Track: (½ of) “Heathen” - Thumbs Down and a Grade of a low D.