CURRENT ROTATION QUICK TAKES
Robert Plant /Saving Grace
With Saving Grace, Robert Plant solidifies his place as a vocalist of the most exquisite order, continuing the rich, acoustic-driven trend charted since his stunning 2007 partnership with Alison Krauss on Raising Sand. This treasure trove of covers is a formidable illustration of Plant’s dedication to artistry, proving he's far from resting on his legendary rocker status. The song selection is astonishingly eclectic: ranging from old-timey traditional numbers touched with a moving gospel flavoring (like 'Gospel Plough'), to classic blues (Memphis Minnie’s 'Chevrolet'), and even modern alternative rockers like Low ('Everybody’s Song'). The latter track, in particular, offers an acoustic thunder that could have settled comfortably on Zeppelin III. Backed by a band Plant has worked with for over five years, there is clearly a settled-in and locked-down collaborative spirit. The raw acoustic accompaniment backs the selected songs flawlessly, providing perhaps one of the most richly woven tapestries of sound Plant has achieved during his solo career. I especially appreciated the vocal contributions of Suzi Dian. Her inflections are completely compelling, and her stunning harmonies don’t merely back Plant; they weave a counterpoint, adding a necessary warmth and texture that elevates the entire collection. The only slight misstep in my mind is the decision to hand over lead vocals to band member Matt Worley for the Blind Willie Johnson number, 'Soul Of A Man.' Worley is a competent enough singer, but in the context of an album defined by Plant's sustained vocal brilliance, dedicating even a single track to another voice feels like a missed opportunity. While many classic rock artists (Paul Simon, Peter Gabriel, Bowie) have demonstrated significant growth and relevance late in their careers, Plant leaves no doubt throughout this album that he is amongst this exalted company. Saving Grace is a true gem—a collection that feels both worn in and timeless—and one that I know I will return to often. Standout Tracks: “Chevrolet”, “As I Roved Out” & “Everybody’s Song” - Thumbs Up and a Grade of A."
Sarah McLachlan / Better Broken
After over a decade of no new music, Sarah McLachlan effortlessly picks-up where she left off with a finely-tuned collection of pure adult contemporary pop. It is certainly no coincidence that the album comes on the heels of a charming documentary focused on her groundbreaking Lilith Fair, but if there is anyone who deserves some targeted cross-marketing to work to her advantage, it’s McLachlan. My full-fledged musical crush on her music began early. I can still clearly recall “Ben’s Song” from her debut, bringing a tear to my eye. That this illustrious start was followed by the powerful one-two combo of Fumbling Towards Ecstasy and Surfacing (both purely perfect singer/songwriter collections), not much else was needed to lock me down as a devoted fan. Though this new gathering of songs doesn’t necessarily push the envelope in unexpected ways, the fact that there hasn’t been new music in so long, coupled with a dedicated and tuned ear to McLachlan’s style makes this album feel like catching up with an old friend. The songs are emotionally charged and live comfortably in the mature housing of crafted pop shared through the filter of warmly intimate arrangements and production. My selected Standout Tracks both show her full powers in baring profound power through honesty and resilience. Katie Gavin joins on the convincing “Reminds Me.” Standout Tracks: “Better Broken” & “Gravity” - Thumbs Up and a Grade of a solid B.
Big Thief / Double Infinity
With their sixth album, Double Infinity, the Brooklyn outfit Big Thief don't just hit full speed momentum—they find the elusive consistency and confident sonic identity that elevates them to a new level. While their roots are planted firmly in indie-folk and alternative rock, Big Thief on this record manages a fascinating and intriguing array of influences. This is heard clearly in the unique palette of sound: the track "Words" pulses with late-60s psychedelic fuzz, "Los Angeles" is a piece of dusty Americana, and "No Fear" drifts into hazy, ambient experimentation. This might seem mismatched, but the band masterfully weaves it into a cohesive, signature aesthetic, producing truly inspired impressions and showing a mature confidence. The band is joined by a host of guest musicians and vocalists whose contributions are not insignificant; I was especially taken by the pronounced keyboard work as well as the distinctly tight vocal harmonies. The fact that the majority of the tracks were recorded live in the studio adds a significant layer to the album's charm, lending an organic, breathing quality to the music. Spontaneous looseness is countered with an airy, joyful atmosphere and a tangible sense of collaborative creation. Double Infinity is not just a success; it is the sound of Big Thief graduating from an interesting indie act to a full-fledged contender, charting a confident course for their future. I'm already eager to hear what they try next. Standout Tracks: “Words”, “All Day All Night” & “No Fear” - Thumbs Up and a Grade of B+.
Hand Habits / Blue Reminder
Blue Reminder is a textured collection of ethereal, alternative rock, anchored by the nuanced songwriting of founder Meg Duffy. My introduction to the band was purely by chance, via my daughter sharing the album’s sole, jazzy instrumental, “(Forgiveness)”—a track whose unexpected, relaxed intonation immediately caught my attention enough to dig in further. Duffy—who has also worked with The War On Drugs and Perfume Genius, both of which I’m an admirer of—has crafted a gathering of tracks that mostly hit a sweet spot of atmospheric rock, relying on subtle arrangement nuances and intimate vocal delivery. The overall sound of Blue Reminder has a strong cohesiveness, even as it strays from 90’s-inspired alt-rock edge and intricately arranged pop to more reflective numbers. And some songs, like “Jasmine Blossoms”, manage to crowd all of the above into the confines of a single song. However, some of the songs do blend in a pool of sameness enough that it makes distinguishing specifics or walking away with particular memorable tracks a bit tricky. This uniformity is what prevents the album from achieving deeper distinction, but in the end, it is absolutely the stirring vibe of all the pieces combined that makes the release ultimately stick the landing. Standout Tracks: “Way It Goes”, “Dead Rat” & “Nubble” - Thumbs Up and a Grade of B-.
The London Suede / Antidepressants
Following the immense pleasure I had reveling in the new release by Pulp, I was super pumped to hear that The London Suede (or Suede, as they are known outside the US) had also released a new album. Better yet, it is almost equally as strong and absolutely pulled me in full force. Producer Ed Buller (who has manned the helm of six previous albums by the band as well as Pulp’s ‘94 release) brings to the full forefront a powerful alternative rock sound that locks in all of the bands charms, while also framing the songs majestically. And the songs are all winners. Seriously, not a clunker in the batch. From the pronounced confidence of “Dancing With The Europeans”, the New Wave glitz of the title track, the anthemic glory of “Broken Music For Broken People”, and the enthralling slow boil build of “Life Is Endless, Life Is A Moment”, there’s not a clunker in the batch—seriously. I have to admit, though Suede was certainly on my radar going all the way back to their beginnings, I never fully committed as a hard-core fan. Their early Bowie worship was interesting, but I didn’t find their sound to lock in quite as much as their Brit-rock contemporaries—Blur, Oasis & Pulp. All of that is pretty much brushed aside with the strength of this new album. It has also inspired me to go back and pay a bit more attention to their last few albums that slipped by. Standout Tracks: “Dancing With The Europeans”, “Antidepressants” & “Broken Music For Broken People” - Thumbs Up and a Grade of A.
Taylor Swift / The Life Of A Showgirl
I should stay upfront that I am not a Swiftie hater. Though the saccharin sweet country-pop music of her early albums would never have been a go-to for me, I was fully indoctrinated by the repeat (that is, non-stop) listens my daughter, June, gave those releases. Following a foray into dedicated pop diva hitmaker, Swift caught my attention a bit more with her indie folk influenced intimate albums. On The Life Of A Showgirl, there is a clear return to familiar, pure pop territory. There really is nothing to dislike about this album, it is only barely removed from the catchy ear candy approaches employed by everyone from ABBA to current Top 40. There is a slick sheen to the production, no doubt, but many of the songs took on such a similar feel they didn’t actually end-up memorable - even though they are built around such standard pop structures that they feel as if you’ve heard them before. The subject matters also seems to walk a pretty strict pop tightrope - everlasting love, life drama, etc. As you could’ve read in my recent reviews of new releases by artists like Lorde and Alison Goldfrapp, I have no problem leaning into dedicated pop music, but I still need a deeper sense of artistry to fully be convinced. In the case of both Lorde & Alison Goldfrapp, they delivered that nuanced addition fully. This collection feels much more focused on commercial appeal—and there’s nothing wrong with that—but to my ear, I was only mildly engaged, and speaking truthfully, it felt like I was getting a pre-packaged product devoid of any deeper artistry. I have no doubt that this will completely appeal to and hit a sweet spot for true Swifties, but I got all I was going to get after a few listens. Standout Track: “Ophelia” - Slight Thumbs Down and a Grade of C-.
No comments:
Post a Comment