CURRENT ROTATION QUICK TAKES
MARCH 2025

This month has kept me busy with a spread of some excellent - and significantly varied - new releases. In fact, seven of these eight reviews received a Thumbs Up. Check them out if they sound up your alley or if you're looking for some new music to explore. Cheers!

 
Bob Mould / Here We Go Crazy
I can recall, as if it was yesterday, when the songs of Bob Mould - through his groundbreaking punk trio Hüsker Dü - hit my life. Candy Apple Grey was the gateway drug (followed in close succession by moving backwards to discover the monumental Zen Arcade). I was immediately blown away by the two sides of his songwriting coin - the innate ability to channel rage through music like I'd never heard before expertly balanced, back-to-back, with intimate confessionals that felt so honest it almost made you guilty for listening so deeply. My unshakable level of fandom meant that every future release Mould was involved in - even the rare missteps - would receive my full attention. His latest - an economically tight collection (barely breaking half an hour) finds the artist, at sixty-four, still using his music as a therapeutic outlet of sorts. In fact, even for a writer clearly committed to exposing emotions, these songs feel especially transparent and focused. “Your Side” is a love song as targeted as Mould has ever written, but he still channels anger with the best of them (look no further than “Neanderthal” if you need proof). So while not necessarily a career-defining moment, it certainly stands firm as a reminder of a career that has exemplified artistic commitment in the most profound and impactful ways. Standout Tracks: “Here We Go Crazy”, “Breathing Room” & “When Your Heart Is Broken” - Thumbs Up and a Grade of B-. 

Manic Street Preachers / Critical Thinking
MSP is a band I know well - having dedicated to a thorough review of all of their previously released albums - as can be seen in my earlier posted FULL DISCOGRAPHY DEEP DIVE. From their scruffy punk (almost hair metal) early ‘90s beginnings to their glorious launch as serious Brit contenders by the end of the decade they have, over the years, continued to tunnel and fine-tune their sound - documented on fourteen (strong to excellent) albums. Their latest finds them doing (mostly) what they do best. I will admit, I was immediately worried with the opening title track. It felt like an ill-fitting misstep, as if the band was trying on a Muse stance that just didn’t work at all. Equally odd, is that they return to the same sort of styling at the end - leaving the album bookended by the two weakest numbers. Luckily, ten seconds into the second track, the soaring “Decline & Fall” (a track co-written with Squeeze’s Difford & Tilbrook), the expected sound kicks in with a passion. I’ve made the comparison before, but at their best, MSP manages the rare feat of convincingly handling the tools that made Ultravox such a wonder to witness. This isn’t a totally fair comparison, but when it comes to lush production and James Bradford’s ability to match Midge Ure in finding such in-the-pocket phrasing and soaring reaches to the higher end of his vocal range, there is no denying similar feelings of anthemic success. When it all comes together - which is often on this album - it is a beautiful thing to witness. Standout Tracks: “Decline & Fall”, “Brushstrokes of Reunion” & “People Ruin Paintings” - Thumbs Up and a Grade of a solid B.

Doves / Constellations For The Lonely
Another UK trio, Doves debuted almost an entire decade after Manic Street Preachers, but also managed to use an intriguing blend to create a very winning sound. This new album, their first in five years, continues that trend. Though the band writes as a unit, they do divvy up lead-vocal responsibilities and while I usually don’t mind that sort of variety, with the Doves I always end up leaning more to the songs sung by bassist Jimi Goodwin. It isn’t that the band’s sound varies greatly behind the different vocal stylings, but Goodwin lends to a sound more in-step with the moody pulse of contemporaries Elbow and The National - which scores highly with me. On this collection, those songs not sung by Goodwin feel a bit more BritPop ‘90s era-locked. Again, not necessarily a bad thing, but it resulted in a collection that felt, at times, a bit out of balance - and I feel sure I would have given a higher score had the entirety been led by Goodwin. Overall, even if I didn’t get quite as pulled in, there is no denying the gorgeous production work. All the trappings of a classic album are in place - only a few missing pieces keep it from landing higher. Standout Tracks: “Renegade” & “A Drop In The Ocean” - Thumbs Up and a Grade of C+.

The Wombats / Oh! The Ocean
The third UK trio in this gathering doesn’t fare quite as well. Across the run of the band’s previous five albums (beginning in late 2007), I have always thought of them as a singles band - with a few tracks serving targeted playlists better than the overall impact of any of their full albums. That continues to track here. The elements aren’t egregiously off - it’s all relatively tightly packaged alt-pop, but it just doesn’t make much of an impression. Too dialed in and just not all that unique or interesting. Every song ends up feeling interchangeable and by the time I reached the end of the album (despite giving it a few concentrated listens) I’m not left with anything memorable to hang my hat on. Standout Track: “Blood On The Hospital Floor” - Thumbs Down and a Grade of D.

WIZRD / Elements
My love of classic ‘70s prog runs deep. But finding modern bands committed to those stylings that I appreciate is rare. Too often it comes off more focused on musical acrobatics than substance. Instead, I prefer those bands (Muse, The Decemberists, etc.) that use prog elements through a filter that results in a more artistic rendering. I had never heard of WIZRD previously, so I had no preconceived notions, but color me totally surprised when these Norwegians totally caught my ear with their sophomore release. They pull deeply from prime Yes, but there are also elements of ELP, Gabriel-era Genesis, & even some early Kansas in the mix. The key is that they avoid pretentious fireworks and only use their ample skills to serve the tracks. The band also layers in some welcome shifting of gears - allowing the album to feel like a more complete experience. Standout Tracks: “Mesmerized”, “Fylkesvei 33” & “Kaleidoskop” - Thumbs Up and a Grade of B-.

Twin Shadow / Georgie
Twin Shadow (aka George Lewis Jr.) won me over quickly with his 2012 sophomore release, Confess - and then doubled-down that admiration when, backed by a full band, they convincingly blew me away live when I caught them later that year at NC’s iconic Cat’s Cradle. A deep devotion to ‘80s pop (particularly the slick grooves of Prince) were impossible to miss. Over the years, there has been solid growth in both songwriting and arrangement/production skills. On this, his sixth album, Lewis made a bold choice. Gone are the grooves. In fact, there are no beats or percussion to be found on this release at all. Elements of the 80s sound is still in play, but the tighter, stripped down arrangements demand attention and immediately return a more intimate experience. Melancholic takes on loss, the fragility of life, and the navigation of finding one’s place are given the downcast atmospheric musical settings they deserve. Spoiler Alert: This isn’t music for a sunny day when you want a lift. But knowing that misery often loves company, you could do worse than committing to the time, given the right mood, to downshift and lean in. To that point, I’ll offer a critical thought. Though I am enough of a Twin Shadow fan that I completely buy into the intention here, I have to admit that with seven of the eleven tracks clocking at three-minutes or less, there is an element of sketchbook/demo recordings that comes across. Add to that, though I find the tracks as they are beautiful in their simplicity, several seem to scream out for a full-band treatment, and I’ll be curious to see how Lewis decides to present them in a live setting. Standout Tracks: “Funny Games” & “Maybe It’s Time”  - Thumbs Up and a Grade of C+.

Japanese Breakfast / For Melencoly Brunettes (and sad women)
 2021’s breakthrough release by Japanese Breakfast, Jubilee, caught everyone’s attention (including mine) for its colorful wash of joyful alt-pop sheen. The addition of horns, lush synths, & ‘80’s-inspired grooves all helped Michelle Zauner’s songs shine in ways that stood-out compared to the whispered acoustic testimonials of the band’s first two albums. That bold step perfectly sets up the thoughtful construction and clear attention to detail that is their latest release. With the skillful ear of Producer Blake Mills (noted for his work with Fiona Apple & Bob Dylan, among others), the team creates a more intimate, but no less atmospheric musical environment for Zauner’s songs to live comfortably. Subtle touches exist throughout and invite rewarded close listening, but the mature growth of the songs carries the day. Hard not to compare to the latest impressive releases by Faye Webster and Clairo, two artists (both a generation younger than Zauner) who were clearly inspired by Japanese Breakfast's sound in the first place - a well-worn perfect circle. The unexpected (and well-played) duet with actor Jeff “The Dude” Bridges on “Men In Bars” is an added bonus! Standout Tracks: “Mega Circuit” - Easy Thumbs Up and a Grade of an impressive A-.

Sam Fender / People Watching
I came in blind on this album as I hadn’t heard anything from this 30-year-old’s previous two albums. From the word GO, the title track screams Springsteen (through a The Killers filter) in the most pronounced ways. It’s a confident expansive stance that completely works (& is definitely the strongest offering). The remainder of the album leans a bit more toward the modern alt-pop side, but continues to be strong enough to get by. The collection is aided by believing that Fender is earnest enough in his delivery. There is a bit of sound blur that takes over the latter half of the album and the closing track, “Remember My Name”, with its paint-by-number structure & lush arrangement, feels like it would have been better suited as a song offering to Adele, but neither of these derail the proceedings All in all, enough works to prompt me to see what Fender does with a bit more growth and, perhaps, some musical stretching. Standout Tracks: “People Watching” & “Arm’s Length” - Thumbs Up and a Grade of a C+.

 KRAFTWERK - A CONCERT REVIEW

March 19, 2025
Dr. Phillips Center For Performing Arts / Orlando

***No history lesson here. Background and historical significance of the band are easy to find elsewhere.

To be truthful, Kraftwerk has mostly existed as a prime footnote for me. That is, I felt more of a fan to the countless bands & artists that their undeniable influence was felt through. Fort instance, I tunneled through a devoted Art Of Noise phase - a band that would be impossible to imagine without Kraftwerk's impact coming first. However, I have given their key albums close listening over the years and when I heard that founding member, Ralf Hütter (the only original member still carrying the legacy), was staging a 'farewell' tour, I felt obligated to attend. I was excited to experience the multimedia show in person.

I will say upfront that the key to enjoying the show was surrendering to the performance art of it all - the specific aesthetic of the Kraftwerk stylistic commitment was proudly adhered to. 

For all intent purposes, they could have sent out four stand-ins, pushed play on the pre-recorded show tape & let the impressive aspects of the matching video & augmented displays do their thing. That is, with very few exceptions, you never really saw the performer’s faces or could even specifically tell who was playing what - or that they were actually playing at all. 

Didn’t matter - I got what I came for. 

The concert was two solid hours of literally everything that even the deepest fan would have wanted to hear. Often, 2 or 3 tracks from a given album were reformed to create a sort of jigsaw, Frankenstein-ed new reworking - with fragments being seamlessly used to create as close to a ‘live jam’ as Kraftwerk could ever offer. 

These creations, in the live setting (& through the stellar sound production) definitely brought some very infectious grooves to the evening. Had the venue been a club as opposed to a pristine & more formal venue (truthfully more appropriate for classical concerts), I have no doubt that folks would have given-in to the strong desire to dance. I know I would have. 

What was ‘lacking’ was a more human, live music experience. But again, I am quite aware that this would have not been true to the Kraftwerk legacy. 

I love seeing musicians in a live setting react to each other (& the audience) in real time. This doesn’t exist in Kraftwerk’s universe. The singular combined entity of the Kraftwerk computer-mind was on full display in the strictest sense. And it was just beautiful. 

The set (both the band’s constantly changing 'Tron' laser-suits & keyboard stands - along with the designs/footage on the crystal-clear main digital screen) perfectly matched (& augmented) the music. In fact, the images added made clear the humor & levity sometimes only hinted at in the original albums. The old-timely B&W images of models from the ‘50s, in all their era-locked glory, was a literal LOL-moment during “The Models”.

ALL of the usual/expected setlist suspects were on display. But a highlight  for me was the inclusion of “Spacelab” (a lesser-known track from The Man-Machine) as it has always been a personal favorite. This number benefitted from a ‘personal’ touch as the video screen showed a 1950’s spaceship pinpointing Orlando on a very Google Maps-like display and then, specifically the downtown area, before landing on the venue’s ’front lawn’. The crowd’s cheers & laughter were audible. 

Though no mystery, it was also strikingly clear during the show what a wide & and impactful influence Kraftwerk had on synth/electronic music that followed. Particular numbers seemed to be included as an unavoidable reminder - 'Oh, that’s were OMD got that riff', 'Art of Noise sure lifted that sampled beat', 'Gary Numan used the hell out of that synth patch', etc. 

The audience, as you’d expect, was pretty generationally  locked in. I’d say the vast majority were from my generation (mostly mid-50s males wearing black shirts & gleefully committing to the insanely long merchandise line to snatch up tokens of this ‘farewell’ occasion), though there were younger & older attendees in the mix. I loved the inter generational family all wearing faithfully recreated versions of the classic Kraftwerk uniform - red colored dress shirts w black pants & neckties. 

I was sandwiched by two pairs of such 50-year-olds - two of which shared that they had been childhood friends, with one traveling down from Georgia to use the concert as a chance revel in their memories of listening to Kraftwerk when they were young. And if you don’t think Kraftwerk is a band to inspire fist pumps and air-playing of signature keyboard parts, don’t tell the guy that sat on the other side of me. 

Perhaps my favorite moment was the outpouring of admiration and gratitude felt in the standing-ovation Ralf Hütter (the only original member) received as he stood alone on stage at the end of the show, hand on his heart, basking in the applause. It was the only time we clearly saw his face for the entire performance & and the emotion was palpable - it definitely brought a tear to my eye. 

CURRENT ROTATION QUICK TAKES

FEBRUARY 2025

INTRO:
The shortest month sure provided an interesting gathering of new music. Thanks for taking time to check out my thoughts on a handful of new releases. Cheers!

Mogwai / The Bad Fire
I’m no lumberjack, but I imagine that if you are after a particular maple syrup you only tap very specific trees. Bands can be the same way. Some deliver such a unique on-target sound that you can forgive them not constantly exploring new musical avenues in the name of staying the course and continuing to provide the goods. Maogwai is one such band. The (mostly) instrumental history of this band’s previous ten albums is that of atmospheric post-rock - with tendencies to lean into dense Sonic Youth/My Bloody Valentine distortion more than many of their likeminded contemporaries (Explosions In The Sky and Tortoise). However, on their latest release, the band expands - in extremely alluring ways - to a sound that incorporates their past foundations with new layers of cleverly palatable touches. A great example is “Fanzine Made Of Flesh” - a perfect college alt-rock track. As an overall collection, this album just keeps giving and giving. Not only did I stay fully engaged through the high number of listens I committed to, but that extra focus also returned exciting discoveries & deepened appreciation for the stellar tapestries of sound the band forged. Standout Tracks: “God Gets You Back”, “Pale Vegan Hip Pain” & “18 Volcanoes” - Clear Thumbs Up and a Grade of a strong A. 

David Gray / Dear Life
When did I get soft? (Or: What’s wrong with walking both sides of the street?). Is it some sort of mortal sin to have the ability to pull enjoyment from switching between songs as diverse as, say, “Ace of Spades” to “Could It Be Magic?” - from side one of Zen Arcade to Christopher Cross? Sure, there is an easy consumable sameness to much of the music that falls under the truthfully diverse umbrella of Adult Contemporary/Soft Rock, but that doesn’t mean there aren’t artists who serve up that style with great talent & natural craftsmanship. David Gray has always been one of those purveyors - in fact, since his 1998 breakthrough fourth album, White Ladder, he sort of hit the scene fully formed. As the dude has put out an additional 8 albums since, I admit I haven’t given each of them totally close inspection, but I certainly would rate highly those that I did - and I found this latest to effectively hit that same admirable pocket. This isn’t groundbreaking experimental work, but it is extremely solid in all kinds of ways. The highest compliment I can pay is that it was - out of all of the new albums I listened to this last month - easily the one I played the most times. The musical version of comfort food. Standout Tracks: “Eyes Made Rain” & “That Day Must Surely Come”  Thumbs Up and a Grade of a C+.

Ambrose Akinmusire / honey from a winter stone
This jazz release threw me for a bit of a loop. Bandleader & trumpeter Akinmusire had not been on my radar previously, which certainly says more about my lack of modern jazz knowledge than his notoriety or appeal (the 42-year old has released twelve albums, won the Thelonious Monk Jazz Competition in 2007, has been nominated for a Grammy & has guested on dozens of projects). I can’t speak to past album approaches (though they seem pretty varied), but this collection is a gathering of all sorts of musical dinner guests. There are challenging abstract string segments, frantic be-bop rushes, interesting percussive grooves, and hushed moments of more pastoral tranquility. Also hard to miss the echoes of some of Miles Davis’ experimental, electronic work. There is even an epic half hour exploration. What this adds up to is a listening experience that requires the audience to be open (& patient). Some of this really worked to my ears, but some didn’t. Despite being a big hip-hop fan, the hybrid numbers that included rap/poetry just felt like one extra element too many. In the end, I just couldn’t find my footing. It was an interesting one-listen experience, but I don’t see myself circling back. However, seeing that he has a trio album featuring Bill Frisell, I will be checking out a few of his previous albums. Standout Track: “s-/Kinfolks” - Slight Thumbs Down and a Grade of C-.

The Weather Station / Humanhood
This Canadian ensemble, led by singer/songwriter Tamara Lindeman, caught my attention in a big way with their 2021 release Ignorance (so much so that it earned a spot in my Top Ten from that year). While they haven’t reinvented the wheel on their latest, there is very definitely an added tumultuous under-current to their dialed-in sound. They also present their heaviest nod to ‘90s female-fronted trends. Notes of Tori Amos & Sarah McLachlan drift by, but it’s the similarities to the vocal delivery & phrasing of Paula Cole that are super pronounced. So much so, that I could have easily been tricked into believing this was a new Cole release. However, none of this presents a problem as I am a fan of one and all - and, moreover, I feel that The Weather Station manages their hybrid with a balance of enough jazzy experimentation that they stake firm musical territory, even with an assist from others. The end result is a collection that contains more subtle twist & turns than a first breezy listen might reveal. Definitely worth circling back to become more familiar with all that is being touched on.  Standout Tracks: “Neon Signs” & “Lonely” - Thumbs Up and a Grade of B-.

20/20 / Back To California
It’s always cool to grab a snapshot of previously missed rock music DNA. Case in point - my discovery of this new album by 20/20, a band I had never heard of before. At first listen, I was impressed by their straight-ahead heartland rock sound - with healthy, impossible to miss echoes of Tom Petty (“Springtime Love Song” being the most flagrant example). But color me surprised to learn that their roots extend back to 1977 when the band moved to California from Oklahoma to release their debut - a collection of tight post-punk power pop. The band would release two more albums, but never realized the success of peers like Petty or The Knack. After an extended break, two more albums appeared in the late ‘90s. And now, here we are, with the two founding members taking one hell of a stab at a late-career rally. My hat is off to them. Given their lineage, I wholly salute this record’s clear stance. In a nutshell, this is uncomplicated, smartly-crafted rock that would pair perfectly with a drive on a beautiful day - windows down, volume up. Standout Tracks: “Back To California” & “The End Of Summer” - Easy Thumbs Up and a Grade of a solid B.

The Weeknd / Hurry Up Tomorrow 
I was very much behind The Weeknd’s ‘22 album, Dawn FM. When my daughter suggested it, I immediately appreciated its ‘80s throwback vibes. Tons of Michael Jackson beats, Prince grooves & synth touches were all respectably wielded to create a modern pop collection that felt like what it was - a dedicated tip of the hat presented on its own two feet. With the new album, the 80s-hangover is still there (opener, “Wake Me Up”, is introduced with Scarface soundtrack synth washes before falling into a groove that is pure “Thriller”), but what doesn’t holdover from Dawn PM is the joyous revelry. This collection - at 22 tracks and almost 90 minutes of music - feels like it is in desperate need of some serious editing. Any early album highlights are all but forgotten as the majority of the second half of the collection wallows in slow jams that blur with a sameness in sound. And this is despite some heavy-hitters making cameos (including Florence + The Machine, Lana Del Ray and Mr. Scarface synth himself, legend Giorgio Moroder) - their contributions seem as almost after-thoughts. The good is good, but unfortunately there is just too much mediocre to navigate to make the time spent worthwhile. Standout Track: “Open Hearts” - Thumbs Down and a Grade of C-.