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-.

CURRENT ROTATION QUICK TAKES

JANUARY 2025

INTRO:
January seemed to just shoot by, but it did include some interesting (& widely varied) new releases - including two stand-out early contenders for my year-end TOP TEN list. Check out my thoughts on these albums and give them a listen if your interest is piqued. As always, consider sharing or letting me know your thoughts. Cheers!

Ethel Cain / Perverts
Ethel Cain is another artist I was originally exposed to through my daughter, June. Unlike many of June’s favorites, Cain stood-out as a songwriter much more interested in the darker, artistic corners of modern music. And WOW - is her new album an oddball revelation! Is it just me or does it sound like on Cain’s first album since ‘22’s breakout, Preacher’s Daughter, is committed to challenging her “American Teenager” hipster fans? Let me rephrase - Cain has leaned-in hard to a murky work of art that seems as equally focused on confidently following her shadowy muse as it does insisting that listeners buckle-in. Surrendering to dense and deeply concentrated listening is a necessity with this collection. Need evidence? The majority of the 90-minute album is instrumental, non-traditional-song structures that mostly consist of menacing & hypnotic experimental passages (think Trent Reznor’s soundtrack work or Sigur Ros’ darker acoustic piano forays and you’ll get the idea). Minimal vocalizing is employed. It plays out as perfect atmospheric music for an artsy black & white horror film (not unlike the imagery of the album cover). This one will take most listeners real effort to get through, but those persistent enough are rewarded with an intimate look at a consummate artist working through an emotional abyss of sound. Standout Tracks: “Vacillator” & “Etienne” - Thumbs Up and a Grade of a well-earned A.

Ringo Starr / Look Up
All Beatles aren’t created equally - Ringo taught me that. As a young teenager going through a deep-dive love of all things Beatles, I learned the hard way that parting with limited available cash to buy just any solo album released by a former Beatle would not necessarily return highly favorable results. The culprit? The highly uneven ‘81 Starr release, Stop And Smell The Roses. This wasn’t Beatle quality. This wasn’t even bad solo George Harrison quality. Despite my love for the Ringo Starr ‘character’ and what would become a real respect for his incredibly unique drumming accompaniment - especially to The Beatles’ more orchestrated baroque-pop tracks - barely mediocre output just wasn’t going to cut it. Jump to 2025 and Ringo’s first solo release in six years - a collection of notably county-flavored musings with master-arranger/producer T Bone Burnett in his corner. The country music swing is no surprise. Ringo has shined through that lens many times since his first memorable Beatles vocal work on Buck Owens’ “Act Naturally” from the Help soundtrack. What is a little surprising is that despite his undeniable charms, Burnett doing his thing, and some stellar guests, the album still ends up barely enticing me to listen more than once. It was worth the (one) listen, but not much more. I’ll stick with “Don’t Pass Me By” if I need a little country Ringo in my life. Standout Tracks: “Time On My Hands” & “Thankful” (featuring Alison Krauss) - Thumbs Down and a Grade of C-.

Sault / Acts Of Faith
This debut album of the ensemble that is Sault apparently caught me at an especially good time. Not only was I immediately pulled in by the jazzy soul-leanings, but I was so convincingly won-over that the album stayed on a top-priority listen level for more than a week. I just wanted to play it over and over!! There is certainly a back-in-time vibe to the proceedings, as the songs skirt very definite 1970s soul terrain - but this is counterbalanced with the modern cool one might associate with Lauren Hill or Erykah Badu. What I found most alluring was the vibe. More than solid individual tracks (which totally exist) is the thoroughly winning way this collection builds such a defined identity. The economical 32-minutes of music floats by like a parade of calming clouds. I don’t want to overdo my praise, but the album intentionally (& effectively) hits upon notes that co-exist in the same universe as the Mt Everest of this particular styling - Marvin Gaye’s masterpiece What’s Going On?. Standout Tracks: “Someone To Love You” & “Signs” - Huge Thumbs Up and a Grade of an incredibly solid A.

Dwight Yoakam / Brighter Days
I love Dwight Yoakam - always have. Though not a bonafide/true across-the-board country fan, I have found great joy in artists that zero-in on specific country targets. To me, Yoakam is the direct descendant of the great ‘50s twang delivered by the likes of Buck Owens. And though it has been over ten years since his last release, he completely maintains the swaying (& winning) combo of unique hillbilly outsider that made his earlier albums so appealing. There is a confident lightness and joy to the album - each track bringing dusty sunshine and open road wonder. Now, I get it if this isn’t your cup of tea - this is definitely all-or-nothing music styling (my wife & daughter were NOT fans!), but it hit a sweet spot for me and was such a staunch reminder of how much I dig Yoakam that I will be going back to re-listen to his classic releases soon. Standout Tracks: “Brighter Days”, “Can’t Be Wrong” & “California Skies” - Thumbs Up and a Grade of a strong C+.

Franz Ferdinand / The Human Fear
I am a big fan of this Scottish band’s first two releases, but I have to admit, they dropped off my radar a bit over their past three albums. So when I heard they had released a new one I was interested to check it out. Not much has changed - and, unfortunately, I don’t mean that in a wholly positive way. The general vibe of the band remains in-tact, but the bite and attitude that really drove their earlier efforts seems to have been replaced by an automatic-pilot sense of direction. They bring neither life-earned wisdom (which, given the album’s title, I was hopeful to see revealed) or interesting musical growth to the table. Worse, a sameness in sound takes over by the fifth or sixth track - making the whole collection blur together, failing to leave behind anything memorable. I'll stick with the early stuff. Standout Track: “Tell Me I Should Stay” - Thumbs Down and a Grade of C-.

American Aquarium / The Fear Of Standing Still
Do you like The BoDeans or The Jayhawks or Son Volt? Americana rock hinged with just a touch of country-nuance, driven by earnest delivery. If so, I’m guessing you are already familiar with American Aquarium. Somehow, I had missed out before now - but as a fan of those other bands, I fell into place fairly quickly. I found the entirety of this album to work pretty well. It isn’t groundbreaking or wholly unique, but it hits its intended pocket with confident plumb. There is a relative ‘sameness’ to the flow of the collection and the second half feels a tad less committed to, but it manages to not wear too thin. The songs are well-built and sturdy enough to withstand any necessary cliches (whether performance or lyrical). Standout Track: “Crier” - Thumbs Up and a Grade of C.

TOP TEN 2024

TOP TEN ALBUMS 2024

INTRO

I’ve joked that I listen to music like it's my job. Putting down in words what I like or don’t like about a particular album brings me joy, but not nearly as much joy as the simple act of listening and experiencing. With that in mind, I've decided to streamline a bit and have tried to be as succinct as possible in sharing my TOP TEN 2024 list. 

As I choose to do each year, these are in no particular order. What they represent, out of the several hundred new albums I listened to this year, are collections that made an indelibly positive impact on me - each in their own unique way.

Enjoy - Cheers!

The Cure / Songs Of A Lost World 

This is a monolith of a collection - a huge iceberg sinking slowly into black waters. The songs explore the fragility of life, deep regrets and mournful musings on, well, just about everything. This isn’t an album to turn to for a pick-me-up, but rather an ice-cold stare down of those shadowy corners we all must navigate. The intentionally languid pace of the album plays out in thoughtful and effective ways. To rush things would greatly diminish the impact - and man oh man, does this album move along cautiously and beautifully. The lush production provides such atmospheric fullness, echoing Disintegration (The Cure’s 1989 masterpiece) musical approaches, but layering in a more world-wise understanding. Each time I gave this album a concentrated listen it pulled me further in. Its companionship was emotionally moving and intriguingly unsettling.

Nadine Shah / Filthy Underneath

Though I always try to be fair, it is true that albums released in the first few months of the year - like this one - always face a tougher challenge to end up in my TOP TEN. Time doesn’t (and shouldn’t) topple their impact, but there is a tendency to lean in more intimately to albums that you have recently experienced. The simple truth is that this record got its hooks into me following my first listen and only dug in deeper with each that followed. I came in blind as I had never heard this Pakistani/Norwegian singer/songwriter from England previously, but that didn’t keep me from immediately being excited by this inventive collection. It is immediately obvious that the vibe of these songs is not at all interested in placating a typical pop audience. There are plenty of twists and turns that challenge, but I found the mix to be a really interesting hybrid of familiar and other-worldly. Maybe the best way I can describe it is that Shah shines as if from a different musical galaxy. I especially found the songs to morph and intrigue following repeat listening - offering an alluring opportunity to become more intimate with this unique artist. 

Jack White / No Name

Admittedly, I’ve drunk deeply from the Jack White Kool-Aid (in all of his incarnations - solo work, White Stripes, The Raconteurs, Dead Weather, etc.). It seems impossible to try and deny that the dude is anything but the dedicated heir to the Jimmy Page riff-king crown. More than that - you can actually feel the love, passion, humor, & joy he shares through his music. It is infectious and utterly convincing. This latest (surprise!) solo release is loose and perfectly in-touch with the stripped-down foundations of The White Stripes - in all the best ways. It is a spot-on end-of-summer release, and I can’t stop cranking it. 

St. Vincent / Broken Man

St Vincent (aka Anne Clark) has certainly earned my respect as a consummate artist - one that I am prepared to follow down pretty much any musical rabbit hole she feels inclined to explore. All the better when that exploration wraps tight in classic singer/songwriter approaches that sound as forward leaning as just about any release I’ve heard yet this year. From the intriguing pull of “Hell Is Near” to the epic finality of “All Born Screaming”, this is a perfectly crafted musical statement not to be missed. 

Nick Cave & The Bad Seeds / Wild God

Some albums strike in such a way that finding words to describe the experience seems impossible. This is made worse when there is a self-imposed focus on delivering a brief, summary review. In the most accurately economic way I can put it in this space - this collection is an epic stunner. Both musically and lyrically, every moment is sublime and infinitely moving. The loss of two children in 10 years makes an impact at every turn - but is never overwhelmed by a resolute search for meaning and relief from grief. This is an album to listen to again and again - appreciating and benefiting from one of the finest modern songwriters/performers still releasing new music. 

Arooj Aftab / Night Reign

The beauty of Aftab’s music is undeniable. Her alluring collaborative lean into ambient jazz with Vijay Iyer & Shahzad Ismaily (who are both guests on this latest album, Aftab’s 4th) on last year’s brilliant Love In Exile - one of my TOP TEN 2023 selections - seems to have perfectly served as a prelude for this new collection. As the title suggests, there is a formidable layer of shadow and mystery at work - connecting the songs (featuring both English & Urdu lyrics) in fascinating ways. She continues to employ jazz approaches, but there is also a modern touch that is strikingly engaging. While listening I thought - more than once - this is the Sade album I’ve been waiting fourteen years for. 

Pearl Jam / Dark Matter

Some acts will always get a biased positive reaction from me. That is, one built on decades of love & trust in their artistry. Pearl Jam is certainly an example of the first order. Now, this doesn’t necessarily mean I give them a ‘license to kill’, but I go in listening to new music with high expectations. With their first new music in four years (& their 12th studio album), the band hits with an urgency that measures as equal parts adventurous foraging & well-deserved reflection. This is a ferocious & thoroughly thoughtful album of first-rate American rock, and I absolutely love it! 

Faye Webster / Underdressed At The Symphony

I knew it would happen! You spend all the formative years doing your best to expose your child to excellent music in hopes that they will someday gravitate to music beyond Disney pop stars. Enter Faye Webster - the first artist that June exposed me to that I can absolutely endorse. Extremely solid songs, spot-on arrangements & a winning overall vibe. Of course, the sophisticated pop trappings and jazzy leanings deeply remind me of post-folk Suzanne Vega, Aimee Mann & 10,000 Maniacs - all artists June had plenty of ear-time with on road trips growing up, so I’ll take a tiny bit of credit - HAHA! And to give June another nod, one of their other favorites, Clairo, also released a highly impressive album (Charms) that only barely missed out on making this year's Top Ten - so squeeze that one in too if this style is to your liking.

Nada Surf / Moon Mirror

On their 10th studio album, the NY quartet continues to deliver the same clever rock/pop that was displayed in ‘96 through their Ric Ocasek produced debut. This is smart, well-crafted bursts of the sort of quality orchestrated rock that has its foundational roots in the blueprints of Cheap Trick and the modern flourishes of ‘90s contemporaries like Guster and Death Cab For Cutie. Music that feels familiar and earnestly alluring at the same time. This felt like the perfect summer record, even though it was released in October (though in S Florida, that almost still counts!). Even if you live somewhere that has a nip in the air, roll the windows down and turn this one up! I’d also pick “In Front Of Me Now” as one of my most played (& deeply enjoyed) standout rock singles of the year.

Nala Sinephro / Endlessness

With some music, I love to be kept guessing and appreciate the adventure of not knowing what is around the next corner. On her second album, Caribbean/Belgian composer Sinephro has created the first jazz album in some time to so strikingly grab my attention. I would be hard-pressed to label this collection with a definitive, all-encompassing genre label. Jazz fusion, atmospheric ambient, electronic/synth soundscaping, art-film soundtrack. They all work! A continuous 45-minutes of sound - I discovered this album to work on lots of levels, not the least of which was an enveloping guide helping to navigate this hypnotic and alluring musical topography. Don't make the mistake of treating this as calming background music. The intricate attention to detail found within this music definitely deserves closer attention.