Eartheater : " Heavenly Body: If I'm The Bottle You’re The Message'

 

The sixth album by the once experimental singer who now finds herself matured by the birth of her first child. This album starts off heavily atmospheric with ethereal vocals drifting without as much direction as "Practical Amnesia," whih almost feels more like Lana Del Rey than what we have heard from her before which is more transgressive pop music that is industrial adjacent. More electronic elements begin to bubble up in a more recognizable fashion for 'Crown Jewel". It also finds her lyrics almost as abstract as the music behind her light, flowing voice. Thi is even catchier than the previous song whih is a trend I hope this album follows.

'Wasp in the Fig" finds a less whimsical tone taking over. It almost feels like chamber music to some extent. Thankfully, a beat came in to anchor it. Her creative approach reminds me of Bjork. She uses her voice like an instrument as well.  "Glowing Guts" benefits from her vocals, taking one on a more moving cadence. It gives the vocal melody a droning but catchy flow. The best is more minimal than some of the songs, but it is enough to keep things grounded. "Hers Before Hers" is almsot more like Imogen Heap, whih works for me. The music is a little more minimalist, but enough to give her melodies something to work with. 

"Don't Look Back" flirts with 80s sounds, creating a more dream pop vibe. "Favorite" takes its time dancing to life, but is effective once it gets moving. "Fast Asleep" is more of a lullaby, which makes sense given the theme of this album. "Nova" closes the album; it is more of a ballad. Despite this album not being as beat-driven, you can hear how she has matured as a songwriter, so I will give this one a   9.5 and see how it grows on me.

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Taylor Bickett : "Nothing I Can't Undo"

 

This Nashville-based singer-songwriter plays a style of pop-tinged folk that is not far from what Boygenius does, though less based in rock music. Holding the most similarity to the Phoebe Bridgers side of that equation. The lead single "If Only' is what made me give this album a shot. It is highly hooky, effective songwriting. There is more of a pop feel to the strum of "Politician." Lyrically, she takes a cue from Taylor Swift cleverly, she paints a picture with her words./

I can also hear some HAIM in how she uses melodies on "Firefly Collector". She has a more subtle atmosphere to her work than most of today's pop icons, whom I am drawing comparisons to. "Goldstar" is more introspective lyrically as she looks back on her childhood. "Nothing I Can't Undo" finds her proclaiming she does not want sex, she just wants them to want to, which is an interesting perspective that shows some of her insecurity being bared. 

"Driving in the Dark" is more straightforward folk. Her vocal melodies are strong enough to carry whatever direction she decides to take these songs.. There is a less sonically dynamic take on this formula and a more reflective tone to " Wild Dogs". "Genesis" is the first song that feels like filler to me; it's not bad, just does not feel as inspired as the previous songs, which is still impressive considering that at this point we are nine songs deep into the album. She goes back into reflection on "Good Thing Short," which shows more country roots. There is a similar vibe to the last song 'Venice," though it carries a more atmospheric feel. I will give this album a 9.5, it's one of the strongest indie folk albums I've heard this year. 

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Pool Kids : "Easier Said Than Done"

 

It is funny that I found this band while searching for punk albums that came out this year. There is nothing punk about this but I like this album for what it is. This Tallahassee plays a pop minded version of indie-rock that benefits from some very slick production that lends to the pristine vocal lines and dancey grooves. It feels like if you were hoping the Beaches had made more of a pop album this time around then these kids would be for you.  They rock a little harder on the second, and find the clever lyrics really propelling this one. While the vocals are incredibly produced it begins to play against them "Bad Bruise" as it begins to give the songs a more uniform feel. 

When guitar begins to play a larger role on "Leona Street" it balances out things a bit. 'Last Word' is a little more dynamic, and the guitar once again guide the vocals into more rock places. They jangle and stomp in equal measure on this, which I am betting feels more like a rock song live.  Vocalist Christine  Goodwyne belts it out a little more as the song builds to show she is not a one trick pony. "Sorry Not Sorry" emerges from a softer dynamic. Lyrically it feel more like a pop song. 

There is more of a HAIM feel to "Not Too Late". On "Which is Worse?" the vocals sit back a little as the guitars dance around them to create a more anthemic feel when it kicks into the chorus. "Dani" feels kinda like a power-ballad in the emotive manner it sprawls out. She displays some vocal power on this one as well. "Perfect View" is a ballad that holds a more folk feel. The last song works well enough of a more watered down Taking Back Sunday like vibe. Overall this album is a great deal of fun I will give it a 9.5, the most punk part is that it was released by Epitaph. 

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Allie X : "Happiness is Going to Get You"

 

The most underrated forward-thinking pop artist out there, who I do not see breaking big as Charli XCX, due to her smarter lyrics and need to take things on her own terms in a more uncompromising direction that can be heard right from the opening track. There is a more nuanced style of pop songwriting that leans in a somewhat Lana Del Rey direction this time, with a 1950s California vibe. These more organic vibes carry over into the second song. '7th Floor' finds the pace picking up, though it is more organic than what you might expect from here past releases. It's moody but not as dark as the last album. 

Things drop down to more of a baroque piano ballad for 'Down Season" that seems like it is almsot a reactive turn from the last album, though the song progresses into more of a slinky sex vibe. 'Reunite" is the first song that falls more within the lines of where pop music is today, aligning here more near the zio codes of the Sabrina Carpenters and Chapell Roans. The title track is an odd piano ballad that sounds like she was heading in a more Tori Amos direction, but does not feel as focused as "I Hope You Hear This Song," which is also marked by a fair amount of whimsy. 'Uncle Lenny' is another weird ballad that get's lost in it's own introspection. 

"It Gets Better" sounds more likea show tune. While I appreciate the experimentation, she is not playing to her strengths as a singer. It flows a little better when she takes a turn into something that sounds more like soft rock from the '70s on "Learn to Cry" as it has more purpose, though it feels like it was written for Kacey Musgraves. "Stay Green" has more groove and a tangible bass that holds it together. The last song feels like it wants to be Massive Attack , but it works for me so I will take it as I iwsh she leaned in a more new wave direction again for this album. I will round this down to a 9 for the reason explained in the review regarding playing to her strength and see how it grows on me.  

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Ethel Cain : "Willoughby Tucker, I'll Always Love You"

I learned about this artist from Chelsea Wolfe, so I decided to check out her new album. It's a very emotionally fragile take on indie folk. The opening track is very compelling and inspires me to stick around for more. Not as dark as Chelsea Wolfe, but you can hear where their sonic common ground is. There is a very natural feeling of atmosphere that the second song uses in a more expansive post-rock manner. Thematically, this is a prequel to her album "The Preacher's Daughter". 

"Fuck Me Eyes" is the second single that was released. It makes sense as it flows really well, and the melody is poppier than the first song. I would not call it dark, but introspective, and to be a concept album of sorts, there is an honesty to the narrative that is tangible. The electronic elements gather up to take the song away. Lyrically, is paints a wonderful picture. "Nettles" is the first single from the album, but it's just a wandering modern folk song and not as catchy as "Fuck Me Eyes," which is a better song, but it works for what it does, but what it does is not mind-blowing. Almost feels like a Phoebe Bridgers B-side. 

The sprawling seven and a half minute interludes are an interesting touch. They are long enough to count as songs, but for the purpose of this review, I am not going to, as it's clear to hear what her actual songs are. "Dust Bowl" does have a touch of the experimental ambiance to it, as she creates an ambient backdrop for the otherwise breathy introspection that ponders her early glimpses into sexuality. There is a lethargy to the way this song flows that creates a rainy-day melancholy. I love the effects on her voice and how the dynamic builds in this song. The post-rock creeping into things is a wonderful touch. 

"A Knock at the Door" has a hushed urgency to the pastoral manner it floats out. Though the vocals could carry more of the weight, rather than the sparse arrangement captured here. The album does lean heavily into the ambiance so much that some of the storytelling gets obscured by it. The instrumental interlude "Radio Towers" runs right into "Tempest," which finds her more ethereal vocals hovering into place. It rides a beautiful hypnotic drone that almost feels like it's from the '90s. I had to give the closing song "Waco, Texas" another listen, as it carries a similar ambiance that sprawls out with minimal percussion carrying the wave of fragile vocal speculation. I will give this album a 9.5 and see how it grows on me. Excellent songwriting when she commits to it, but it is more about the mood, which works here as a powerful mood conveyed. 

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Collapsing Scenery : "Stand Up Tragedy"

 

When you combine former punk rockers from America's hipster meccas of Brooklyn and Los Angeles, you should expect your expectations to be misled. This is way happier than I thought it was going to be. It has more in common with the Postal Service than any industrial or synth wave band; the vocals are surprisingly influenced more by T-Rex than the punk of today, which I am fine with. Things get somewhat punkier on the second song. "Stay Behind" is psychedelic indie rock that will be playing in coffee houses that pot-smokers frequent this fall. It is a cool collection of sounds that does not really click with me.

"Magic Button" is more experimental, but it boils down to placing more focus on sounds over songs. "Born Again" follows more of an electronic pulse, and it works out better for them than the songs that preceded this one.  The hushed urgency of the vocals to "The Ballad of Debbie Campbell" makes me think of INXS. "Hsppy Valley" is experimental pop which, midway into this album, seems to be the best genre description of what is going on here. "Prussian Blue" is a little more disjointed and noisy, whereas a more melodic groove flows through "On Your Knees." 

The last song kind of bubbles up from the extended mix jam of "On Your Knees". It holds on to the lo-fi indie dance groove and fucks with it by twisting the sounds around in a more experimental fashion, the vocals falling toward the back of the mix. I will give this album an 8.5, more pop needs to be experimental like this, normally when I want this sort of thing I go with Xiu Xiu who is darker and more uncompromising, but some pople are less of a weirdo and something like this might appeal to them more. 

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HAIM- " I quit"

 

The Haim sisters are back after five years, which in pop music is an eternity, given how attention spans and trends cycle out. In being generous and taking things like touring into consideration, we can say they had 3 years to follow "Women in Music pt 3" which was a career-defining album, that elevated the band's status. All of this is to say it's reasonable to have high expectations for this album.  They are quick to put the brakes on those with the opening track "Gone," which might have been better served as a deeper cut. I had heard a few of the lead singles going into this album, so I knew this was not their best declaration of their return, these sessions had to offer. 

The two songs that follow would have worked better to open the album, as they are stellar. They are also two of the singles leading up to the album release."All Over Me" and "Relationships," which are pop songs with the sister's brand of clever marking, both the lyrics and the music. There is a more 90s pop rock feel to "Down to Be Wrong' which reminds me of Sheryl Crow, with some Zeppelin punches thrown in here and there. The indie rock jangle of "Take me back" finds the vocals on the verses bringing the Violent Femmes to mind. So this album seeks to get their footing back into their indie roots, more than trying to follow Taylor Swift's footsteps. 

"Love you right" took a couple of listens to grow on me. It's organic enough to give the thoughtful vocals room to work. "The farm" sounds like it should have been on a Waxahatchee album. It's a country-tinged ballad that is strummed plaintively. The vocals sit back into "Lucky stars" but it's a case where experimenting with what normally works for them pays off. The vocal production on this song is great and contrasts with the more lo-fi guitar sound. Bon Iver lent a hand writing 'Million Years".  It finds an electronic beat bubbling under the vocals, and it took a few listens to grow on me.

The more casual pace of "Everybody's trying to figure me out" works, and the arrangement is more unique than what is going on in pop today, which is the sweet spot the girls need to be more focused on. "Try to feel my pain" has a more mellow 70s New York funk vibe. Her subdued vocals coast gracefully over this to work well. There is a more indie dance groove moving "Spinning," which works well enough for what they are going for and is still on brand for them. "Cry" is a more soulful 70s blues-tinged ballad, and there is a more organic, almost country feel to "Blood on the Street". It's "Now it's time" that comes closer to what you want from these gals. Though when this song ended iTunes shuffled over to "Something to Tell You" and started playing "I Want You Back" and none of these songs capture that energy. I will still give this a 9.5, as it is more organic, they are still solid songwriters, and perhaps better musicians now, 8 years later. 

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Triathalon ; "Funeral Music"

This band's fourth album finds them ambitiously writing music they would want to be played at their funeral. This is the kind of melancholic endeavor I am going to listen to. The first track, finds more people doing drugs at their funeral than I would expect as it's a highly trippy veil of amabiance coating what would be bedroom-pop in any other equation. Kids these days are into this sort of thing. "Chey' does not depart from what they started on the previous song, the guitar sounds almost looped in how it repeats the phrases as the vocals drift in the background. The drums have a minimal beat that keeps the pulse. 

On "Down" a distorted guitar echoes from the back of the mix until the verse drops down into something more straightforward thought still coated in effects, as they ride the line between shoe gaze and pop. Seems an odd choice for a funeral. "Rip" is more clearly shoe-gaze, which is a sound I would like to hear them lean into more, even when their more pop-minded take on the genre is still too depressive to transition them to dream-pop. They go into a more strummed section before taking the more sonic dynamic shift. They have their wits about them when it comes to songwriting. 

A quaint organ sound opens the down-tempo psychedelic funk that they toy with as the narcotic coo of the vocals bubbles up from under the guitars. This is more of a get stoned and take a nap song than a funeral banger. It reminds me of Elliot Smith at times. "Last Night' is more hopeful and seems to stray from the funeral theme, They should switch the way they produce the vocals as an entire album with the vocals presented in this manner causing all the songs song the same despite the good ideas they are presenting. "See You Smile' circles the same pool of ideas the previous song presented. "Melt' is an upbeat jazzy jame, that is far from a requiem. 

The effects layered over the breath vocal style presented once again on "Way Out" begin to make me think this guy can't actually sing and it's covering this up, though lyrically this song is an improvement. I begin to get a little bored with the uniformity of sound on this album at nine songs in, which is no longer than it has taken for some albums. "Salt" finds them toying with a bass, while the vocals chime in with the same languid tones dominating this album. The more electronic beat works well here. 'Jordan' might as well be Joji. "Wall" hovers back in the direction of the shoe-gaze. There is a more relaxed pop feel to "Your Eyes'' complete with auto-tune-like effects on the vocal. The last track is more of an outro. I'll give this album an 8, as the vocals are a vibe, but this makes the entire album that vibe, though this project is good at setting the relaxed pop for its high-as-hell audience. This album drops May 16th 

 

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Song of the Week- HAIM's "Relationships"

A few years have passed and I keep waiting for a new HAIM. That day has come and they have delivered. The sisters write pop music as a band, a novel concept, but they play instruments and such with a team of producers and songwriters helping them. It has lived up to expectations, a little poppier than I thought they might go as none of the Fleetwood Mach influence we heard on the last album was present, but this was just a single so who knows how the entire album will be, but if there is any indication here I think it should be good. Strong vocals and hooks as always with some of pop's more thoughtful lyrics.Sonically closer to "I Want You Back' than their last album. While they are not Taylor Swift' equals when it comes to album sales or ticket sales, they are certainly on her level creatively, as Taylor Swift herself is a big fan, having taken them on tour with her before. 

 

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Pale Waves : "Smitten"

 It feels like they are reining things back from the Avril Lavigne sounding album I did not like, and back to making moody pop-inflected indie rock. At least the opening track makes me hopeful for this. Do I still think they are trying to cash in on the push of the alphabet people, sure, but I care less about that if they are delivering great songs like this. Heather claims that Kacey Musgraves was an inspiration for this album, but I hear more Cranberries. The most pop is on the choruses of these songs, "Thinking About You' is the first song that doesn't hold up to what they deliver on the first three but maybe it needs to grow on me.

There is some influence from the Cure in the guitar playing, where Heather's vocal inflections owe more to the Cranberries, but with Delores dead why not? "Last Train Home" has a more drifting strum that borders on being more of a ballad. It has a nice float to it. I prefer this much more than the pop grasping of the last album. "Kiss Me Again" is the first song I can hear any country music influences she mentioned, but it's more in the spacious mix. "Mis America' finds them back in step with the sound they need to work with. 

"Hate to Hurt You" is poppier but still works well enough. "Seeing Stars" plays to their strengths to an even greater extent. The last two songs find a middle ground between their pop aspirations and the jangling indie rock that is their strength.  "Slow" has a more hushed ambiance but moves well. I'll give this one a 9.5 and see how it grows on me but happy to hear them back to their roots as a band. 

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Fontaines D.C. : "Romance"

 

Wow, it seems like these guys took a turn. Though when the groove of "Starbursters" takes you away bobbing your head it's kind of hard to argue with it. This Irish band is now playing a hooky-as-hell version of Brit-pop that is more infectious than the post-punk they busted out on the last album. The songwriting is in a poppier direction but without feeling like they are selling out. The vocals were given more room to work their magic and Grain Chatten has really come into his own as a singer. Granted some of the credit goes to producer James Ford, who has also worked with HAIM, Depeche Mode, and Florence and the Machine. He obviously knows how to dial vocals in the right way and give everything the space it deserves to make the most of the melodies.

This is also the band's fourth album, so they know what they are doing, and seem to have a firm grasp on where they want to take it.  If you want to hear the band's more Clash-influenced take on punk, then this is not the album for you as they have grown past that point. I could stand to have the guitar more present in the mix, but for what is going on here, I will take what I can get. There is plenty of strumming going on with "In the World Modern" but it is more of a ballad. It reminds me a little of Tears For Fears if they covered a song from the last Taylor Swift album. 

"Bug" finds them still having some of the attitude that pervaded previous work, but streamlined into this more Brit pop-flavored delivery, where the guitar is strummed in a manner that owes more to the Verve or Oasis. This vibe carries over into "Motorcycle Boy". I think they are most effective when locked into more of a groove, but the mellower direction still works well enough. I find myself waiting for when they are going to jump back into that sort of thing, but instead, they go into more of a dream-pop atmosphere for "Sundowner" the more melancholic mood, which also works for me since I am a depressed person, so I can co-sign this direction as well. 

"Horseness is the Whatness" is another ballad, this time it feels like a psychedelic show tune. Reverbed-out surf guitar creeps along the edges. "Death Kink" has more of the punk undercurrent lurking under it, with the band kicking in with a more Pixies-like energy. This makes it one of the album's best songs. A grungy single-note guitar solo comes in to add more 90s vibes. "Favourite" has a happier strum to it, that feels like one of the Cure's radio hits, but more cheerful than what I prefer from these guys, but they pull it off well. I will give this album a 9.5, as it's a leap forward in terms of songwriting, even if they have stepped away from some of the things that got me into them. It's hard to argue with something that works. 

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Little Hag : "Now That’s What I Call Little Hag"

 

This quirky indie pop is opening her album with a song about her vibrator. This is not as organic as the previous songs I have heard from her. This is more like 80s  new-wave.  "Oops" does this in more of a Devo-like manner, as the guitar is more angular. The guitar playing makes me think of St Vincent. There is more of a 70s groove to "The Suburbs" though it does not go full disco despite the best intentions of whoever programmed the drums. In the first two songs, the lyrics were her secret weapon, and this is not the case in "The Suburbs". It is an effective song, just not as clever as the first two. 

"1000 Birds" is her commentary on Capitalism, which is funny considering she is not just giving this album away. "All 3" goes back in the direction of pop, though the sounds backing her voice carry a more lo-fi roughness to them. "You Blew it" works off another groove that is not as pleading for you to shake your booty as the pop you hear on the radio and is driven more by sarcasm. "Would it Kill You" might be heartfelt, but not hooky, instead it drags you through the demise of her relationship. She does eventually pull out a guitar to strum as she reflects back on why being 21 sucked. 

"King Cake" is a dramatic ballad with an odd 1950s-flavored ambiance surrounding her uncontrolled vibrato. There are some interesting guitar tones on this one, highlighting the fact this is a really well-produced album, though it did not roll off the music industry assembly line. "Hell Yes" flirts with country music in its casual strum. The somewhat bleak lyrical outlet is also a welcome shift from the confines of music.  There is an atmospheric interlude in the middle of the song, to give a more experimental perspective. "Hangin' on a Thing" is another ballad. This one is a little more reflective. Pining over past relationships is a theme though done in a much different way than how Taylor Swift approaches the subject. This does build into more of an indie rock shuffle. There is more of an indie power ballad feel to "Suck Out the Pain " which closes the album in a more effective manner than where things were heading with the folk-tinged ballad before it. I will give this album a 9, it's fun and she is occupying a needed void in this kind of pop music. 

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Snow Strippers : "Night Killaz Vol 2"

My first time hearing this project from producer Graham Perez, and young singer Tatiana Schwaninger. First listens I heard this as a cross between Charli XCX and Grimes. More experimental than your average pop album. It crosses over into electronica more often than not since the emphasis is on the beats and soundscapes being woven here. Tatiana is not the greatest singer, but the secret to this album lies in how her voice is presented. She has her own charisma in her persona. "So What If I am a Freak" is the first song that crosses them over into electronic music, as the vocals are just another layer rather than getting the main focus of the song. I am not normally into this, but they care about writing songs as much as they do creating cool sounds so it balances out. 

She puts her voice in some interesting places on "Back N Forth". It's catchy and that is all I really need from this. It helps this album is moody, and not too upbeat despite its dance-inducing grooves. The lover and attention the vocals deserve are not fully invested in 'Draw a Heart" which causes the song to not hit as hard as the first half of the album has. They are all in for the beat of "Need to Know" allowing the vocals to wander as more of a texture. If the first half of the album had not been bangers then, my expectations might not be as high for the rest of the album.   

"Throw it Back Away" is back to feeling more like Charli XCX, but the spotlight is not as intent on making her a star here. Yet she handles the song well and does what needs to be done, which is hard to argue against. The vocals modulate with the song well. "Video Games" has a slight touch of witch house to the marginally darker perspective of the song. The lyrics are kind of silly, but it works with what it seems this project is about. I will give this a 9.5, well written , executed, and produced to add up to a great deal of fun. 

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Nadine Shah : "Filthy Underneath"

 

This marks the 4th album we have reviewed by Nadine Shah. Her first is our favorite so far. She has progressed past the point of being post-punk. There is a stark mood that still lingers around the smoother grooves she continues to polish.  On the lead single "Topless Mother" her voice feels like it is taking the role a horn section would normally occupy in the arrangement. It is not the hook fest you might imagine a single to be. "Food For Fuel' feels more interesting with its snake-charming bass line. Though the first three songs are all very effective at what they do, they just do three very different things. 

Shah does have a great voice, but her main strength as a singer is knowing where to put her voice that best serves the song which is a skill she continues to sharpen on songs like "You Drive, I Shoot". The beat is minimalist, but she makes the most of it. However, this skill alone is not enough when the instrumentation is not aiding her with an attempt to groove, which can be heard in "Keeping Score" . Sure it is better than most of what you hear on the radio these days, Taylor Swift excluded, but we have heard better from her, and that is the bar we are measuring this album by. 

"Sad LadsAnonymous" is spoken word over a bass groove, that feels like a Tricky b-side. Lyrically there is more attention to detail in the bitting commentaries she has built this album around. This is much less of a rock record than what we have heard from her in the past, as is more beat-reliant in a manner that puts this closer to pop music, just without the commercialized aspirations. She allows the moods to drone and speculate. "French Exit" has a slightly darker touch to it, that reminds me as a whole this album has not been all that darker. The mood is more of a skeptical hope. It works off a tension that never climaxes. Still her voice sounds great and overall everything typically works certainly better than most of the pop music on the radio, I will give it a 9, which puts it alongside her other albums. 

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Middle Kids : "Faith Crisis'

 

This Australian band is moving in a poppier direction, which is still effective as they are writing pop songs with a great deal of heart and thought invested in them. Unlike most actual pop artists, they do not have a team of producers and songwriters but hash things out as a band, with the guitar still at the forefront of what they are doing, though the sugar-coated vocals of Hannah Joy are pushed further into the spotlight. It is generally upbeat, though with introspective lyrics that are sometimes self-deprecating. The album is well produced and while sonically falling somewhere between HAIM and Boygenius, they are not quite as radio-ready as Haim even on more anthemic songs like "The Blessings", but this plays to their favor since most radio sucks. 

"Bootleg Firecracker" is not far removed from Taylor Swift's more organic moments, though Joy's vocal style is a little more indie folk here. She is not going for anthemic choruses either. There is a little more of a rock feel to "Highlands" The vocals are still really catchy, but the emphasis shifts a little toward the guitar riffs.  'Bend" finds Hannah strumming her way through what at first feels like a ballad until it gains more dynamic traction. The bass line to "Go to Sleep on Me" takes more prominence. When the guitar comes in it feels more like the Cure's poppier moments. There is an indie rock shuffle to "Terrible News ". They continue to prove themselves lyrically superior to the bulk of pop music with songs like "Philosophy". 

"Your Side Forever" is a little more of an honest and vulnerable take on pop.  The last song is more of a ballad, that sets the stage for a duet with Gang of Youth's David Le'aupepe, which works well enough for what it is for this album. Overall I will give this album a 9.5, and see how it sits with me, it is going to be hard to beat in terms of pop, and perhaps it's perfection will become clearer with more listens as it settles in with me, but a great replacement for the lack of new Haim.    

Faith Crisis Pt 1 by Middle Kids

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Ratboys : "the Window"

 

There is a fair amount of noise around the raw edges of otherwise slicked pop bounce with a country twang to it thanks to the youthful voice of Julia Steiner, whose voice sometimes reminds me of Katie Crutchfield of Waxahachie. Chris Walla from Dead Can for Cuie produced this album, and this can mainly be felt in the dynamics of making the bigger parts rock more. The style of songwriting flows very easily and organically. There is more of a rock shuffle to "Crossed That Line" thanks to the drums. This side of the band may not play to their strengths. The wide collection of jangling guitar tones they play with does not have the same heart. 

"It's Alive" flows much more effectively and plays to Steiner's strengths as a singer. . Going into this album I am well aware of the critical buzz it received. It is interesting to hear how that may or may not have been pandered to when delivering these songs. This band has been around for a decade, but they have to be aware of their trajectory as Chris Walla is a busy dude and not going to work with just anyone. "No Way" is breezy with the occasional chord progression that reminds me of the Beatles cropping up here and there. Their easy style of songwriting is hard to argue against.  The title track adheres to what they have promised thus far on this album. 

"Empty" is more exuberant and feels like it is a lost track that wandered off the airwaves of 90s radio. There is more folk feel to "Break" which does layer on single-note electric guitar solos. They jam this song out a bit, which gives things more of a wandering feel, than the taunt pop-minded songwriting we have heard earlier in the record. This jamming continues over into "Black Earth WI" which is even more rambling and feels like an indie rock version of the Allman Brothers. The musicianship outshines the songwriting here.  At almost nine minutes, the guitar solo winds on and on. 

"I Want You" wanders back into the more quaint pop shuffle of their sunnier side. "Bad Reaction" is a more honest and raw emotional outpouring, It might not be the best song, but it has the most authentic lyrics, that balance introspection with storytelling charm. Walla's production bells and whistles slowly creep into the song. I will give this album a 9, they have continued to refine what they do for a larger audience and I think this album will continue to gain traction into the new year. 

the National : "Laugh Track"

The second album from these guys this year was a bit of a surprise. Songs that did not fit what they were doing on 'the First Two Pages of Frankenstein" and were further fleshed out on tour. Where the previous album was more introspective pop, they allow the drums to take the wheel and steer them into a more rock direction. This is not to say they do not indulge in similar sonics on song like "Weird Goodbyes", which features Bon Iver. They largely shed the Taylor Swift influence on this album. Matt's mellow yet resonate baritone gives plenty of room to muse. When Justin Vernon chimes in, his voice is mixed as a background layer and does not step into the spotlight. 

"Turn off the House" feels like a folky ballad that has a brisk current of drummer rolling under it . The works to make this not feels like slow song, but rather a song that is lazing about behind itself. It takes a second listen to really take in the song's nuances. Many of them hide in the lyrics. "Dreaming" is another song that I had to listen to a few times before it sank it. It works off a hypnotic pop drone. There is a more laid back twang to the title track that features Phoebe Bridgers. She just kind coasts as a more delicate layer under his voice.  "Space Invader" has all the right accents in all the right places, making it's sleepy mood work. The jammy build up in the songs second half is cool and would work well live. 

"Hornets" works off a more country inspired strum. Lyrically reflective, the clever play of words proves to be their strength. "Coat on a Hook" works more off the ambient shimmer of the guitar that trickles around the vocals. The first song on this album that feels like filler, though it still works for what they do. "Tour Manager "works off a more reserved and introspective drone. The country amble of  "Crumble" feels like it was designed for Rosanne Cash who lends her voice to this song, though that has always been a subtle influence to what they do. The last song feels like if Nick Cave was trying to write electronic music, it's not the album's strongest song, though I like how it gradually builds. I will give this album a 9.5, it continues to show that these guys are great songwriters, capable of a wider range than given credit for. 

the Beaches : "Blame My EX"

This Canadian indie rock has a great pop sensibility to what they do. Their hooky lyrics get real while making fun teenage pop culture life. They proclaim to not let them near your dad, and they you to blame their ex Brett. "What Doesn't Kill You Makes You Paranoid"  works of  the clever passive aggression that propels HAIM to the top of the charts. These gals are listening to the Smiths rather than Fleetwood Mac, which factors into the cutting lyrics. This also plays a role in the melodic jangle of guitar that makes up these songs. The fact they are releasing this album independently means they are writing these infectious songs without the aid of a team of producers, while they are shoulder to with the likes of Miley when it comes to weaving these melodies together. 

This is not to say all they touch is perfect. "Everything is Boring" works for what they are doing , but does not have me as submersed in their spell as the first three songs. "My Body ft Your Lips" takes a lazy stroll through sexuality and drug use. "Kismet" is more playful but not as effective in the mood it creates with it's upbeat strut. The lyrics are almost silly. "Shower Beer" keeps the party going in a better direction than the previous song. The tense jangle of the guitars works really well. It is hard to know which of the lyrics are a joke or a serious declaration of who they are. 

I really like what she does with her voice on the verses of "Edge of the Earth" . The vocals fit just right over the almost disco-inspired riffs. I guess being a bass player helps her in this regard, as she is also locked in with the beat vocally as well. Not the most impressive range, but she found herself in all the right places of the song at all the right times. The acoustic strum of "If a Tree Falls" finds the band making the most of this change in mood. The vocals are really well produced, and this is done without an entire team of producers. 'Cigarette' has an almost post-punk celebration in the release of its tension. I will give this album a 9.5, it's a lot of fun, and worth repeat listens for sure. 

Islands : "And That's Why Dolphins Lost Their Legs"

 This project is 20 years into their existence. I appreciate the quirky take on pop music that bears little resemblance to the pop music you hear on the radio. The plaintive vocals of Nick Thorburn carry the kind of emotional malaise that makes me think of a person who present to the world as happy person, but they have been off their meds for sometime. The depression is a muted color when it comes to both the lyrical themes and the delivery of these themes sonically. I would not call this a dark album, but Bauhaus and Joy Division are also two of my favorite bands so the almost Taylor Swift like hushed intensity to the vocals of "'Headlines" feels pretty damn up beat to my ears. Even when he claims things have him so down might order a hearse , there is a skip in the song's step. 

The vocals are produced in a pretty inventive manner that stacks up more closely to what today's pop stars do, though Thornburn keeps things in a comfortable midrange. He does not belt anything out with soul or power, but makes wise choices in where he places his voice. These songs are catchy without taking the hooks into a sugar coated land of glee. The arrangements are pretty simple most drone of the same musical theme. This formula does not feel as obvious until "Hard to Argue". It feels like these are songs made to smoke a joint to while taking an afternoon stroll though the suburbs of San Diego. The first sonically experimental moment comes by way of "Pelican". One it finds the groove of the verse things are not that odd. 

"Driven Snow" finds them going a more Death Cab For Cutie route when it comes to ballads. This is not as interesting as the stoned strolls through the San Diego suburbs. "Bite My Tongue' finds some of the luster waning as the album begins to find the slowed tempos , beginning to all sound the same. There is some decent guitar work in play at this point. Yet the continue further down this path with "Violet" . The vocals remain at the same fragile musing. Thankfully they break themselves out of this trajectory with "Too Far Gone". The sleepy feel of the vocals glides over an angular pattern to find things sounding more inspired. There are touches of jazz and a more organic feel to the last song that benefits from things being broken up as things evolve into a sax crying out in the background . I will give this album an 8.5 as it runs out of gas midway into things but redeems itself with the last two songs, so very strong moments and captures a great easy feel. 

Silversun Pickups : " Physical Thrills"

I was a fan of their first two albums, so not sure why let some of their more recent releases lapse. I like the place those albums led the band to a point where there is a bleaker moodiness. The dreamy dynamics are still there in fact amplified since their early days. This song is more shoegazey than grunge if we are splitting hairs, though they have always reminded me of Smashing Pumpkins. Things get moderately more dancey with the pop like groove that compels "Sticks and Stones. The androgynous voice of Brian Aubert has grown in both range and power since the earlier days. He throws his voice around more like Thom Yorke now. The more pop rock leaning makes another grab for radio play with the upbeat "Hereafter". It might be a little happy for me, but I cannot deny it is well written. There are these "dream tempo" interludes that are under two minutes. The bass player sings on the first one, then others seem like ideas of songs never fully realized. I am not counting them for the purpose of this review. 

There is a bigger groove to "Scared Together". Niki takes over the mic for "Alone on a Hill" which is very vocal focused and moves more like a dreamy pop song. There seems to be a lot of reflection on the pandemic lockdown in the lyrics. They do this without getting political in the process. The tightly wound syncopation of " Hidden Moon" is interesting. it hard to pigeonhole what they are doing here, but it works well. Something and perhaps it's the bass tone of "System Error" makes me think of White Stripes.  "Empty Nest" is another interesting blend of pop with rock, as the melody bounces in a sugary fashion.  The more subdued "We Won't Come Out" feels like it was supposed to be the theme song for a James Bond movie that was never used.

The first songs with any rock heft to it is "Stay Down" but it's the first that rocks like they used to. Even then I am not referring to their heaviest moments. At the other end of the spectrum, they close the album with the sparse ballad "Quicksand" which really just works off the vocal melody. I will give this album a 9, as it's well written, but a wide step away from their rock sound, which plays both for and against them in some ways.  It's their talent as songwriters that makes this excel at the end of the day.