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+.
