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Entre_Perpetuo
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Week of January 22:

 

Steve%20HackettUnder%20A%20Mediterranean%20Sky.jpg

 

There were a few albums I had my eye on last week but after seeing Zephead's comments on this I thought I'd give it a go. I knew Steve could play some classical acoustic stuff, but I had no clue he'd gotten so good since the 70s. His style has grown in speed and nuance and his compositions have developed in character to reflect more complex moods and colors. Put simply I think he's become an outright master of the style, and self taught too! The orchestral elements are incredibly well done and the whole album achieves a really remarkable balance and interplay between the orchestra and Steve's guitar. The pieces on here are meant to elicit the sounds and sights of the Mediterranean, and as someone who's only seen a bit of it in person I think it's very successful. It stirred my imagination to the point where I was really starting to picture landscapes and portraits in my mind guided my the music. A wonderful record of surpassing beauty.

I'm glad you are enjoying it! I think Steve Hackett just continues to grow and grow as a guitarist and appears to be a master of different styles.

 

In recent years he has released some very good solo albums - I would recommend Wolflight, Night Siren and At The Edge of Light.

Additionally the live releases from 2013 onwards showcasing old Genesis material as well as solo stuff are outstanding. He has assembled a fantastic ensemble of musicians.

 

Anyway, back to this release, as you say, his playing is first class throughout.

It is not necessarily an album you would listen to all the time, but if you just want to relax, chill out and imagine a warm pleasant Mediterranean evening, this will work very well!!

Edited by zepphead
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Week of January 22:

 

Steve%20HackettUnder%20A%20Mediterranean%20Sky.jpg

 

There were a few albums I had my eye on last week but after seeing Zephead's comments on this I thought I'd give it a go. I knew Steve could play some classical acoustic stuff, but I had no clue he'd gotten so good since the 70s. His style has grown in speed and nuance and his compositions have developed in character to reflect more complex moods and colors. Put simply I think he's become an outright master of the style, and self taught too! The orchestral elements are incredibly well done and the whole album achieves a really remarkable balance and interplay between the orchestra and Steve's guitar. The pieces on here are meant to elicit the sounds and sights of the Mediterranean, and as someone who's only seen a bit of it in person I think it's very successful. It stirred my imagination to the point where I was really starting to picture landscapes and portraits in my mind guided my the music. A wonderful record of surpassing beauty.

I'm glad you are enjoying it! I think Steve Hackett just continues to grow and grow as a guitarist and appears to be a master of different styles.

 

In recent years he has released some very good solo albums - I would recommend Wolflight, Night Siren and At The Edge of Light.

Additionally the live releases from 2013 onwards showcasing old Genesis material as well as solo stuff are outstanding. He has assembled a fantastic ensemble of musicians.

 

Anyway, back to this release, as you say, his playing is first class throughout.

It is not necessarily an album you would listen to all the time, but if you just want to relax, chill out and imagine a warm pleasant Mediterranean evening, this will work very well!!

 

I remember listening to At The Edge Of Light when it came out and really loving it.

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Week Of January 22nd

 

61jHeHfVgyL._SX466_.jpg

Technically I am a day early (album official release date Friday 22nd January) but I acquired it today.

Glenn Hughes and Doug Aldrich are a natural fit for each other, Aldrich played guitar for Hughes on his 2015 UK tour. I saw them in Belfast on that tour and they put on a great show.

Hughes addition to The Dead Daisies elevates them to a new level. This is hard rock/metal at its best and Hughes voice still sounds so good.

As usual with the Daisies there is the obligatory cover song - Humble Pie's 30 Days In The Hole, and a very good version it is.

I would highly recommend this album.

 

Finally got to this. What a great listen!

Favourites on first listens:

 

Come Alive

Saving Grace

Inside And Above - has a Black Country Communion vibe to my ears

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Week Of January 22nd

 

61jHeHfVgyL._SX466_.jpg

Technically I am a day early (album official release date Friday 22nd January) but I acquired it today.

Glenn Hughes and Doug Aldrich are a natural fit for each other, Aldrich played guitar for Hughes on his 2015 UK tour. I saw them in Belfast on that tour and they put on a great show.

Hughes addition to The Dead Daisies elevates them to a new level. This is hard rock/metal at its best and Hughes voice still sounds so good.

As usual with the Daisies there is the obligatory cover song - Humble Pie's 30 Days In The Hole, and a very good version it is.

I would highly recommend this album.

 

Finally got to this. What a great listen!

Favourites on first listens:

 

Come Alive

Saving Grace

Inside And Above - has a Black Country Communion vibe to my ears

I was listening to it last night - it just rocks!
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Week of January 29th:

 

Weezer%20-%20OK%20Human.jpg

 

 

Weezer. The mere idea of their continued existence (let alone success) seems a head scratcher. How is it in 2021 this goofy, awkward, not particularly virtuosic garage band from the mid 90s is releasing two brand new albums of material which pushes their sound into places it's never quite reached before? How is it that anyone even cares? After Pinkerton bombed and the following tour ended in disaster, Rivers was done with Weezer. He went back to school. Even when he eventually did come back the band couldn't have sounded more plastic if they'd covered Barbie Girl by Aqua. To top it off, they continued their comeback by putting out one disappointing album after another until their discography became a punching bag for amateur music snobs all over the internet. Even the album covers were embarrassing! How are we here? How am I rocking my Spotify headphone OK Human Weezer album and loving every second of it 25 years after Pinkerton took up its position as the stone over Weezer's grave?

The story that answers that question most accurately is too long and complicated for a simple review, but its moral is pretty succinct and slightly profound. Weezer does whatever they want, and by never shying away from that which will probably get called embarrassingly bad or drowning in cliche, they've struck unlikely pockets of gold at this point more than a handful of times. What other self-respecting 90s alt rock band would willingly cite name brands in their lyrics on an album backed entirely by a chamber orchestra in place of heavy guitars, let alone promise to do a complete 180 on it only a few months later with an album inspired by hair metal? And don't say Smashing Pumpkins, because Billy Corgan couldn't pen a half an hour of music this catchy if he were back in 1994. I love Siamese Dream as much as the next guy but that album just doesn't have anything on Weezer in the hooks department, really it never has. Because the other side to Weezer's unimaginable longevity and success is that no matter what Weezer decide they want to do (an entire covers album which arose out of responding to meme on Twitter perhaps?), they can't help but sound distinctly like themselves. Even without their trademarked Strats with lightning straps, Rivers' has that same emotive voice of a choir boy who never practiced, the songs have the same Beatles/Beach Boys harmonic structures and melodies, with Rivers' own modern twists, and Pat still sounds exactly like himself on the drums (I think few drummers in the world have his knack for playing nearly identical beats in every song, making almost every one of them sound absolutely great, and also being completely identifiable from the first couple bars). Weezer can't help but be themselves, whether it suits the material or not. Thankfully, in part due to the producer's absolutely stunning chamber orchestra arrangements of Rivers already a bit more sophisticated than normal piano skeletons of these songs, Weezer's Weezerness fits this gem of a record like a totally undestroyed sweater.

The color palette of this album reminds me a bit of what Bruce Springsteen pulled together on Wester Stars a couple years ago. Except where Bruce worked in sweeping panoramic shots, summoning visions of the American deserts, Weezer works in much tighter, more kinetic strokes, recalling images of The Beatles making Sgt. Pepper's and Magical Mystery Tour or more recently Coldplay's Viva La Vida record. In fact Viva La Vida is a fitting comparison, as I can't recall many other popular rock bands who have really gone that deep into symphonic, chamber territory to the point of ditching rock instruments altogether. However where Coldplay only gave up the guitars completely for about one song (the vibrant title cut), Weezer finds no need for them at all. There are fluttering string illustrations, piano fascinations, and other acoustic instrumentation everywhere to be found. And these are the details which carry each song directly into the next, creating a near seamless listening experience from beginning to end like a classic Pink Floyd album (or like the Abbey Road suite for a more stylistically suitable reference). As previously stated (and par for the course on any Weezer album), Rivers has no shortage of catchy melodies, but the key difference here is how many of them go beyond simple catchiness to boldly convey deceptively simple emotions. On songs like Numbers, Bird With The Broken Wing, and Dead Roses, Rivers hasn't just written sad melodies to go with sad lyrics. He's composed heart wrenching musical momentum to carry everyday, mundane sadness, even depression. The album isn't particularly heart wrenching from a lyrical perspective (at least, not often), but even the tired longing for simpler times on Screens is elevated to faux operatic gravitas by the music attached to the words. But, and this is a big but, not without catchiness and hope! Rivers recognizes while he's a wonderful songwriter, he's still a songwriter, not a movie score composer or a prog rock hero. Nothing overstays its welcome, gets too overdramatic not to cringe at, or otherwise makes itself out to be anything more than a catchy rock song at its core. This is the genius of Weezer. Intense, emotional resonance packed into mundane, expertly wrapped song packages. It's there on Blue, Pink, White, and All Right, and it's absolutely still there on OK. In my book this is the best thing they've done since 2016, and if that's discounted...the best since 96. By the time you finish reading this review you could have just gotten nearly halfway through OK Human on your own, and as much as I appreciate readers, my goal is only accomplished if I get you to listen to what I recommend. So quit waiting for me to talk about Aloo Gobi or La Brea Tar Pits (both absolute highlights of the album) and just go spin it. Currently my number 1 contender for album of the year.

Edited by Entre_Perpetuo
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Petered out here huh. Well now that school is done it's time to catch back up! Here are the albums from the next few weeks that I listened to and very short thoughts on each (as far as I can remember)

 

Foo Fighters - Making A Fire

 

I've posted many thoughts about this album in other threads, but to keep it short, I really love this one. It's not their flashiest, catchiest, or most well rounded, but its a darn good time and it's just fun to hear the Foos having fun. Not to mention at least half the songs are pretty dang catchy. Dave just knows his way around a hook man. Check out Making A Fire (my fav), Cloudspotter, Waiting On A War, and Love Dies Young for sure.

 

Steven Wilson - The Future Bites

 

I dig it. He's got the guts to stray away from the classic prog revivalism he's best known for and start incorporating flashy new wave elements and catchier hooks. I haven't returned to it yet, but I've been keeping my eye on it on Amazon to see if the price goes down. Definitely worth your time if you're not too uptight about revivalists staying in the revivalist lane. Personal Shopper is sick.

 

Tash Sultana - Terra Firma

 

Australian singer/songwriter/guitarist who makes tapestries of sound with a bunch of loop pedals and her atmospheric, bluesy, often soulful playing. Not super flashy (won't blow minds like a David Gilmore or anything), but the soundscapes are vast and shimmering with detail, and her voice is a manifestation of the rootsy soul and reggae that inspires her aesthetic (that is to say, I like it). A longer record to be sure (as things are in the streaming age), but one with highlights scattered throughout. Pretty Lady and Blame It On Society I remember catching my attention the first time around.

 

Cloud Nothings - The Shadow I Remember

 

Granted it's been months since I listened to this, but it's more like the shadow of what I don't remember. I don't recall disliking it by any means, but if you're looking for some par level emo-tinged indie rock I'm sure you can find it here. I seem to recall not being in love with the vocals, though perhaps that was only on one track (or perhaps it was only on one track that I liked them... hm...). At any rate don't take this as a sign you shouldn't check it out. One listen a couple months ago does not an accurate review make. But as for first impressions it didn't leave enough of one on me to make me want to revisit it. I picked out Nothing Without You as my favorite track at the time.

 

Kings Of Leon - When You See Yourself

 

And this one I just listened to tonight so I'm in a much better position to tell you that it's.... good. Not great mind you. But it's certainly deserving of a good review. The band seems to have turned their attentions away from stadium sized hooks (which have just sold less and less as the 00s became the 10s and now the 20s), and doubled down on a very particular swampy aesthetic, with a strong new wave leaning. It's easy to put this record on and get lost in the dusty drums and CCR rhythm guitar. Add some hypnotically repetitive vocals on top of that and you may get through without realizing the songs ever changed from one to the next if you're not paying much attention. The tempos do bleed together a bit, and the fun details of each track are all so atmospheric that i'm convinced the only instrument not nearly washed out in sepia toned effects is the satisfyingly springy bass. However going back through the tracklist revealed to me each song does have its own identity, and there are a couple of noticeable peaks and valleys in the track listing. Specifically, the first 4 or 5 tracks are all a pretty nice peak, whereas the next 4 or so verge a bit too close to aimless before the second to last song brings back some life to the closing section of the album. The melodies aren't bad either, though as previously mentioned, not stadium filling and often quite repetitive. If you're willing to get lost in the soundscape here though, I think it runs deep enough to prove rewarding. My favorite tracks are When You See Yourself, Are You Far Away, 100,000 People, Stormy Weather, and Echoing. This album will wash over you with waves of honest analog and subtly synthetic sounds, a pleasant ride eyes open or closed.

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Huge co-sign on the Dead Daisies album. I never thought that band was anything special before but the addition of Glenn Hughes takes the songwriting to a different level and his voice sounds great too.

 

Albums from this year that I think people in this thread would like but haven't come up yet:

 

The Pretty Reckless - Death by Rock and Roll --Just a kick ass hard rock album with great songwriting. Kim Thayil and Matt Cameron from Soundgarden are on one song, and Tom Morello is on another.

 

Cheap Trick - In Another World -- One of the best late-career albums from a 70s or 80s band that I've heard in a while. They're just always solid and reliable with good songs.

 

Ayron Jones - Child of the State -- Probably my favorite album of 2021 thus far. It just came out last week so it's still pretty new. I made a thread about him last week that didn't get much response but I think a lot of people on this board would really like him. He's a singer and guitarist from Seattle who kind of combines 70s hard rock/blues rock and 90s alt-rock. Think Stevie Ray Vaughan meets Soundgarden. Great player, great voice and most importantly incredible songs. I think he's it and would strongly encourage everyone here to check him out.

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The new album from Styx, Crash Of The Crown is due in a couple of weeks. This should be interesting.
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The new album from Styx, Crash Of The Crown is due in a couple of weeks. This should be interesting.

 

If it is anywhere as good as the last album, "The Mission" then we're in for a real musical treat...

 

...really looking forward to this one!

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The new album from Styx, Crash Of The Crown is due in a couple of weeks. This should be interesting.

 

If it is anywhere as good as the last album, "The Mission" then we're in for a real musical treat...

 

...really looking forward to this one!

Me too!! I thought The Mission was such a good album for a band at this stage of their career!
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Week of March 12:

 

220px-BlackmoresN_Nature.jpg

 

I don't have a ton to say here. This record has its moments, but most of the time I'm left wondering why I'm listening to what seems to be the soundtrack to a renaissance fair. To that end this music is perfectly suited, but for my everyday listening... eh. I will say the vocals are beautiful and the melodies are all quite well composed. In addition, I applaud the variety of arrangements on here, some tracks featuring horns and others bringing in more modern touches of drum set and bass, and others sticking close to the "two minstrels and a mandolin" idea. Nothing on here was poorly thought out or executed, and Ritchie even finds room for some solid guitar soloing. It's just that I can't see myself returning to it except in the case that I need backing music for a polite game of D&D, though it was nice to read a fantasy novel too as well.

Edited by Entre_Perpetuo
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Cheap Trick - In Another World -- One of the best late-career albums from a 70s or 80s band that I've heard in a while. They're just always solid and reliable with good songs.

 

 

The two prior records are just as solid. These guys are on a good stretch since 2015. Not counting the Christmas album they came out with 2 years ago, which is good for what it is.

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Week of March 19

 

Lana Del Rey - Chemtrails Over The Country Club

 

Lana-Del-Rey-Chemtrails-Over-the-Country-Club.jpg

 

I've never listened to a Lana Del Rey album before. I'd heard a few songs here and there, and also heard that her last album was a big critical smash, but nothing ever really stood out to me as a reason to check her out. Well apparently I've been missing out on some pretty good music. This album roots itself firmly in the 70s west coast singer songwriter tradition, but adds enough modern production touches and traces of present day melodic cliches to keep things relevant (oh, and lyrics which mention the White Stripes and Kings Of Leon). Aside from those aspects though, I'd be hard pressed to find a reason this couldn't have been a long lost protege of Joni Mitchell or Paul Simon. The prominent melancholy piano (especially on opener White Dress) carrying many of these songs, softly comping guitar, lush string flourishes, the almost effortlessly recorded drums, some light saxophone touches, and the hazy layer of smog coating each of these tracks set the perfect mood for Lana to moan and whisper over in perpetual nostalgic exhaustion. The album cover is in black and white and that's exactly the right impression to give for the music within. Though by her age the events in her lyrics couldn't have happened much prior to the onset of the information age, the delivery of these stories feels as though they must've been decades and decades ago. The songs are varied enough to hold my interest through the whole album, which isn't terribly long at 45 minutes (another fine nod to the 70s). Highlights include White Dress, Wild At Heart, Dark But Just A Game, and Dance Till We Die (which has a nice tempo change into one of the most upbeat moments on the album). In terms of other recent releases, I might compare the overall atmosphere positively to Vampire Weekends last album, and the songwriting positively to the softer moments of Springsteen's Western Stars.

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Week of March 19

 

Lana Del Rey - Chemtrails Over The Country Club

 

Lana-Del-Rey-Chemtrails-Over-the-Country-Club.jpg

 

I've never listened to a Lana Del Rey album before. I'd heard a few songs here and there, and also heard that her last album was a big critical smash, but nothing ever really stood out to me as a reason to check her out. Well apparently I've been missing out on some pretty good music. This album roots itself firmly in the 70s west coast singer songwriter tradition, but adds enough modern production touches and traces of present day melodic cliches to keep things relevant (oh, and lyrics which mention the White Stripes and Kings Of Leon). Aside from those aspects though, I'd be hard pressed to find a reason this couldn't have been a long lost protege of Joni Mitchell or Paul Simon. The prominent melancholy piano (especially on opener White Dress) carrying many of these songs, softly comping guitar, lush string flourishes, the almost effortlessly recorded drums, some light saxophone touches, and the hazy layer of smog coating each of these tracks set the perfect mood for Lana to moan and whisper over in perpetual nostalgic exhaustion. The album cover is in black and white and that's exactly the right impression to give for the music within. Though by her age the events in her lyrics couldn't have happened much prior to the onset of the information age, the delivery of these stories feels as though they must've been decades and decades ago. The songs are varied enough to hold my interest through the whole album, which isn't terribly long at 45 minutes (another fine nod to the 70s). Highlights include White Dress, Wild At Heart, Dark But Just A Game, and Dance Till We Die (which has a nice tempo change into one of the most upbeat moments on the album). In terms of other recent releases, I might compare the overall atmosphere positively to Vampire Weekends last album, and the songwriting positively to the softer moments of Springsteen's Western Stars.

 

 

Blue Bannisters is far better, as are many of her other albums.

 

She is a goddess among mortals.

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On 1/19/2022 at 9:09 PM, Wandering Hermit said:

 

 

Blue Bannisters is far better, as are many of her other albums.

 

She is a goddess among mortals.

I did wind up listening to Blue Banisters later that year and I disagree. BB was sprawling but unfocused, songs kind of whimpering into and out of existence without much thought to structure or dynamics. Chemtrails had some real well composed songs on it.

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Oh also…

 

 

BUMP

 

 

I’m trying this again this year!!! I’ve already picked out and listened twice through my album of choice for this week, the week of January 6, 2023. I was tempted to go with Iggy Pop or Anti Flag, but being that those are big names well or late into their careers with back catalogues I haven’t more than glanced at, I felt it wiser that their new 2023 albums not be my introductions to their discographies. So instead I went digging and I found an album by a much newer artist to listen to this week. I’ll give it a proper review later, but the artist in question is one Gabrielle Aplin, and her new record Phosphorescent. I’d never heard of her before but a couple iTunes samples and I was confident it would be worth checking out. Spoilers: I do like it, though not without some fair criticism.

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So for the week of January 6, 2023, I chose to listen to Phosphorescent by Gabrielle Aplin.

 

51Jz+TMefIL._AC_.jpg

 

     I hadn't heard of Gabrielle Aplin before checking this out, but being the first week of the year there was very little new music to choose from, so an unknown artist had more room to pique my interest.  Gabrielle Aplin is a British singer songwriter who tends to work in a contemporary pop vein, ranging from stripped down ballads to EDM inflected bangers, at least on this album. I've yet to dig into her earlier work, but she does have about 10 years worth of material on the market already. This is her fourth album, and judging by the newsletter I wound up on by purchasing a digital copy (WAV files for only 5 bucks!), it's doing very well by her more modest standards.  A lot of reviews do this thing where they go track by track and just recap the music for you.  I try to avoid this as it gets tedious to write and to read.  That said, it is worth noting that the album opens with more of a slow burn, modern RnB tune, Skylight.  This is one of my favorites on the record, with really immersive production and a great buildup to its climax towards the end, however I find it a bit of a weird way to begin an album. Perhaps my rock bias predisposes me to up tempo openings, but even so I can think of multiple classic mid tempo or slow album openers in the rock cannon which make more sense to me in their placement.  It's not a bad way to begin, just a bit of a head scratcher to me personally, but the beauty of the chorus on this one make me forget all about that by about a minute into the song.  And beautiful choruses are a theme on this album. Gabrielle has a great skill for crafting magical melodies.  The best songs on this album have ear worm refrains that have lived rent free in my mind since I started listening to them a week ago.  But it's really her voice which takes good hooks and transforms them into special moments. Aplin has one of those voices which seems most comfortable at a plainspoken whisper, but then surprises you with its stellar range and control and immaculate timbre.  This is the key to her success, without her voice singing them, many of these tunes would like the life that has kept me returning to them this week.  As well crafted as the songs are, they do tend to fall into pretty standard 2010s / 2020s pop conventions. While they aren't overbearing for me, they are pretty ever present, and if you don't have the stomach for the better parts of the top 40 over the last decade, I doubt you get much out of this record.  The lyrical tone remains casually depressed and relatable on nearly every song, dealing in the specificities of modern dating (Wish I Didn't Press Send), and dropping F-bombs in unassuming lines without a second thought (Anyway).  While there do seem to be a good deal of live instruments on these tracks (especially piano or acoustic guitar), nearly every song has a synthetic quality that would lend itself easily to radio play, or inclusion on more background oriented playlists.  This is a contemporary pop album, albeit one with admirable craftsmanship and its own discernible voice. However, the compositions and performances to me are worth the Spotify friendly luster that comes with that territory. Two final critiques. First, most of the running order makes decent to good sense, so the choice of opening the record with a slow burn RnB tune and following it up with a euphoric EDM banger just baffles me even more. Second, I don't care much for the final track, Don't Say. It just seems to have less meat on its bones than the other songs here, but hey, 10/11 is still pretty good!

 

Favorites:  Call Me, Skylight, Never Be The Same, Wish I Didn't Press Send, Don't Know What I Want

Least Favorites: Don't Say

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Okay screw doing reviews, lol. Here's a list of all the new records I've listened to thus far this year, in order of release, and maybe a few words about each:

 

Gabrielle Aplin - Phosphorescent

Margot Price - Strays (good Americana, a little psychy)

Maneskin - RUSH! (good time rock bangers)

White Reaper - Asking For A Ride (zany heavy power pop fun)

Winery Dogs - III

Paramore - This Is Why (current top aoty contender)

Skrillex - Quest For Fire (better than you'd expect)

Skrillex - Don't Get Too Close (worse than you'd expect)

Shame - Food For Worms (post punk emerging hopefully from the shadow of nihilism)

Tanukichan - GIZMO

Miley Cyrus - Endless Summer Vacation (check out Jaded and Roses Colored Lenses)

100 Gecs - 10000 Gecs (current aoty runner up)

Fall Out Boy - So Much (For) Stardust (the best thing this band has done since before I was a musician)

boygenius - The Record

Thomas Bangalter - Mythologies (1/2 of Daft Punk composes music for a ballet... I mean he does know how to make people dance)

Metallica - 72 Seasons

Portrayal Of Guilt - Devil Music (love love the second half featuring orchestral backing)

Jessie Ware - That! Feels Good! (like Dua Lipa, but better)

Olivia Jean - Raving Ghost (if you can't get down with this gothy garage rock now, try again in October)

Veil Of Maya - Mother (this is a more effective way to blend metal with electronic flourishes than what Polyphia is doing)

Kesha - Gag Order (biggest and most welcome surprise of the year thus far)

The Dirty Nil - Free Reign To Passions (heavy summery rock fun)

 

Next week will be the new Foo Fighters.

Edited by Entre_Perpetuo
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