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.