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.

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-.