INTRO: There has been so much interesting looking new music lately that I jumped right in and have shared thoughts on six new releases that cover a range of different styles. Give them a listen if they pique your curiosity. Cheers!
Royal Otis / Hickey
On their second outing, the Australian duo have delivered a collection of indie pop that has a pretty face, but not much personality. It’s an album that's neither complicated nor particularly challenging. Interestingly, every single track is a collaboration with a host of professional songwriters - the kind of major hired guns who have penned hits for the likes of Harry Styles, Justin Bieber, and Selena Gomez. I’d never take points away from an album just because an artist worked with outside writers, but in this case, the clear desire for hits resulted in a parade of sameness that wore thin pretty quickly. The songs pulse along unoffensively, but leave nothing memorable in their wake - all dressed up with nowhere to go. Even when compared to like-minded bands like The Drums or Two Door Cinema Club, who write all of their own songs and sound so much more unique, Royal Otis feels like they’re suffering from a limiting case of tunnel-vision. They're using the same '80s New Wave and '90s indie aesthetics, but somehow, the ingredients just aren't playing nice in the blender. My recommendation is simple: listen to the one standout track, “say something.” You'll get a sense of the band at its best, and you’ll save yourself a half-hour you can spend on something better. Standout Track: “say something” - Thumbs Down and a Grade of C-.
Trombone Shorty & New Breed Brass Band / Second Line Sunday Let's just get this out of the way: there's a certain kind of joyous, New Orleans-steeped brass jazz that, if it doesn't get you moving, means you might want to check your pulse. I’ve been a massive fan of the Dirty Dozen Brass Band—the absolute masters of this sound—for ages, so I’m always on the lookout for newer artists working in the genre. To be honest, Trombone Shorty didn’t get on my radar until his 2022 release Lifted, but I was immediately drawn to his spirited take on fusing funk, soul, and jazz traditions. That album was also my introduction to the New Breed Brass Band, as they collaborated on a track together. This new collection, a full partnership release, is a compelling homage to pure New Orleans musical roots. From the first listen, I was completely locked in, and I found myself coming back to it again and again. While I don’t necessarily dislike tracks in this style that feature vocals (the Dirty Dozen are especially good at pulling this off), I did find myself a little less engaged with the two on this album, "Rock The Boat" and "Way Downtown." The instrumental numbers just have so much more of the swagger and grit that I love about this music. All in all, this is a fun and lively collection that makes me feel like I’m right in the middle of a Second Line parade. I'll definitely be returning to it whenever I get in that New Orleans mood. Standout Tracks: “Line Em Up”, “6th Ward” & “Street Music” - Thumbs Up and a Grade of B-.
Alison Goldfrapp / Flux
As a huge Goldfrapp fan who did a full discography deep dive a while back, I’ve been missing Alison’s voice for the last eight years. I have to admit, I inexplicably missed her 2023 solo debut, so this new sophomore album, Flux, was my first taste of her work on her own. And while this release clearly recycles the kind of hypnotic, European dance-pop magic that made the band's 2003 album Black Cherry so successful, it never once felt like the same old thing. I was just so ready to hear her again. This is a bonafide reminder of what an alluring performer she is. With only one exception, the entire collection is filled with songs that are either good or great. Poor "Play It" sputters at take-off and never achieves flight, but every other track soars. The opening five tracks, in particular, are all in that latter group—they're instant, pulsating classics that make the album's second half struggle just a bit to keep up. Still, it manages admirably. This isn’t a groundbreaking release, but with some artists you just want them to do what they do best. And on that front, this album fully delivers. It’s a perfect, welcome reunion. Standout Tracks: “Hey Hi Hello”, “Sound And Light” & “Reverberotic” - Thumbs Up and a Grade of B
Fitz & The Tantrums / Man On The Moon
I hate to say it, but with their new album, Man On The Moon, Fitz & The Tantrums have truly screwed the pooch. I was all in with this band right out of the gate—their first two albums were a perfect bit of campy fun, full of that great retro soul sound. Even when they followed those with more pop-oriented albums, I hung in there because of their infectious spirit and seemingly earnest intentions. I'll add that I’ve seen them live a couple of times, and they are a fantastic band on stage. Unfortunately, the last few albums (as well as a couple of Fitz’s solo outings) have felt like they are stuck in a rusty pop-machine that just isn't working. I have nothing against ear candy or a simple pop concept, but when you know a band is capable of doing pop right, it feels like a complete disservice when they continue to turn out such weak material. This latest album, their sixth, is the worst offender thus far. There was nothing for me to find any joy from; I knew each track was a lost cause before the first chorus was even over. The songs are flat, uninspired, and just plain boring. I'll be sticking with their earlier albums and holding out a little hope that maybe they can still right the ship. But for now, Man On The Moon is a record I'll be actively avoiding. No Standout Tracks - Thumbs Down and a Grade of F.
Pino Palladino & Blake Mills / This Wasn’t A Dream
What do you even call this album? That was the question that came to mind when I started listening to Pino Palladino and Blake Mills' new collection. Part off-center modern jazz, part atmospheric instrumental, part fusion ambient—it’s all of them and none of them at the same time. I’m a little embarrassed I didn’t know the backgrounds of Palladino and Mills more deeply; these two have played with some of the most iconic rockers ever, from The Who and Eric Clapton to Elton John and Bob Dylan. It just made discovering this album all the more exciting. Musically, I found the album to lean pretty closely to the jazz wanderings of guitarist Bill Frisell. It’s alluring, but thoughtfully mysterious modern jazz, with layers of moody sonics and diverse stylings. It also reminded me of the experimental spirit of David Byrne and Brian Eno’s My Life In The Bush Of Ghosts—not in sound, but in its refusal to be easily defined. And while I listened, it was impossible to miss the impact of Jaco Pastorius' iconic bass phrasing on Palladino. What worked best were the reflective pieces. Given a bit more space, these songs brought forward some really interesting and unique moments. What didn't work as well was the 13-minute-plus "Heat Sink." I always applaud a big swing, but the abrasive guitar sound on this one just couldn't reel me in. Overall, I’m so happy to have stumbled on this album. The more I listened, the more I fell in line and came to appreciate its unique vibe. I'll definitely be returning to particular tracks to outfit a keyed-in playlist. Standout Tracks: “Contour” & "That Was A Dream” - Thumbs Up and a Grade of B-.
Cassandra Jenkins / My Light, My Massage Parlor
It's always a cool surprise when a modern artist can deliver something completely unexpected, and Cassandra Jenkins' new album, My Light, My Massage Parlor, did just that. Much like Ethel Cain followed her debut with Perverts (a strikingly experimental sound-collage), Jenkins has now followed her traditional singer/songwriter collection with a completely instrumental one on her fourth album. I found myself wondering if Cain’s bold move might have played at least a small role in inspiring this. I'd enjoyed Jenkins’ previous album, My Light, My Destroyer, on its own merits, and it even included a few brief glimpses of adding texture with field recordings. This new collection is named as a companion piece to that album - with the only real concrete link being a reworked version of the song "Hayley." In any case, this kind of move always signals a heightened sense of artistic commitment over commercial maneuvering. The piano-based tracks are understated in all the best ways. The numbers are lovely, and while I didn't necessarily catch a direct link to her previous work, the music felt like it was telling its own story. It was easy to get absorbed by the quiet narrative it summoned, and I found it rewarded multiple listens. This isn't just an album; it's a mood, a moment of peaceful contemplation. Standout Tracks: "Omakase of Time," "Betelgeuse Masseuse," & "Haley" - Thumbs Up and a Grade of B.
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