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Indie-rock leaders fail to uncover common ground on collaborative LP.
Her: a master of the mundane, building global recognition on recalled tales of gardening-induced faints and sulky fist-shakes at the depressingly exorbitant state of the Melbourne housing market. Him: less fussed, by everything, nowhere to be but strumming on some stoop in Philadelphia, stoog between fingers. World's apart, quite literally, and while this merger between two of the best modern indie-rock conversationalists might be a marketing wet dream, Lotta Sea Lice lands closer to compromise than collaboration.
In lieu of uncovering commonality across the album's nine tracks, the pair end up sticking to a to-and-fro chat, covering general catch-up topics – from sleep routines ("Let It Go") to social faux pas ("Blue Cheese") to creative approaches ("Over Everything"). Side-by-side the glaring differences of their individual styles emerge – and are ruthlessly diluted. Vile's obfuscated, laconic drawl is exposed in often-cringeworthy clarity, while Barnett's anxious energy and linguistic playfulness are levelled out with a stoned metronomy. The ill-fitting partnership works better on the pair of previously released solo tracks ("Outta the Woodwork" and "Peepin' Tom") which, despite being performed by the other party, sound distinctly less forced. Rare flashes of comfort on a release that's less the sum of its parts but rather two halves awkwardly moulded together.
St. Vincent writes her most together album about falling apart.
Annie Clark's last album in 2014 was both critically lauded and her most commercially successful. And yet the 35-year-old who makes music as St. Vincent was barely holding things together physically, spiritually and emotionally. While Clark is pretty much the opposite of a confessional songwriter, Masseduction is uncharacteristically open and a rare thing – a together album about falling apart.
"I spent a year suspended in air," she sings over the herky-jerky, almost hysterical feel of "Pills", before detailing all the meds she had to take to keep functioning. "New York", on the other hand, is a bewitching piano-based ballad about a city not being what it was now that a significant other has gone. Yet it's not sentimental. How could it be with the killer line "You're the only motherfucker in the city who can handle me"? It's enough to make even the late Lou Reed crack a smile.
Jack Antonoff (Lorde) co-produces and his maximalist pop tendencies are targeted rather than overwhelming – the title track's Prince-meets-Janelle Monae freak-funk; the helicoptering keyboards and shuddering beat of "Sugarboy". Whether she's sweating out a slinky kink-fest ("Savior") or creating a beautiful ode to a difficult relationship with a junkie ("Happy Birthday, Johnny"), Clark hits the head, heart and hips simultaneously.
Lucky 13th album is all of Beck's feelgood summers at once.
Since Midnite Vultures followed Mutations followed Odelay, the radical mood swing from string-soaked acoustic introspection to beat bustin' party central has been a key premise of Beck's discography. Accordingly, after the ravishing autumnal down of 2014's Morning Phase, Colors is a whole new summer high.
"I'm So Free" might be his most irresistible mash of experimental sonics, rubber-lipped rap and classic grunge guitar chorus hook ever. That's the third killer track on the trot on an album that almost hyperventilates in pursuit of the ultimate endorphin kick.
Mad genius pop producer Greg Kurstin (Sia, the Shins, Tegan and Sara) brings an extra sugar rush to the table, retro-tastic in the flagrant Beatles pastiche of "Dear Life", punching a hole in the mirror ball of "Dreams" then floating into the futuristic ether of "Wow".
Subject wise, the hedonistic gist of "Seventh Heaven" and "Up All Night" sums up the best part of Beck's headspace, but there's enough intrigue in his lyrics to keep the brain in gear even as blood rushes to the dancing organs. In the closing track, "Fix Me", he finally exhales in the album's sole slow track, an oceanic ebb designed to segue, perhaps, into his next morning phase. For the rest of this cycle, though, get ready to party like it's 2019.
Has Adam Sandler become a lyric writer for the Darkness?
The Darkness have never been a band for serious lyrical sentiment, but their transition into full-blown Carry On territory is complete with their fifth album. Musically it's all top notch glam rock fare, the AC/DC swagger of "Solid Gold" butting up against the pop-rock mastery of "Happiness" and steaming riffing of "Japanese Prisoner of Love", but Justin Hawkins' lyrics push so far into joke territory that the album may as well be filed under "comedy" – witness the opening line of ballad "Stampede of Love": "You walked in and the ground shook/Can't believe how much food you took".
Darwin soul singer charts new heights in cool on debut.
An A.B. Original collaborator and one half of electro-soul duo Sietta, Caiti Baker draws a heady through-line from Bettye Swann to contemporary peers including Ngaiire and Son Little, remaking soul music in her own image. Zinc harnesses brassy mid-century big band and R&B cool ("I Won't Sleep") to filigreed neo-soul texture ("Dreamers"). The album's most intoxicating tracks sample roughcast recordings of Baker's bluesman father laying down guitar licks on a smartphone; Baker and producers Michael Hohnen and James Mangohig welding the dawn of popular song to engrossing contemporary production. Each piece is unique, each uniquely wonderful.
Goth-metal veteran gets back to his shock-rock roots on 10th album.
Two years after releasing the surprisingly mature goth-metal offering The Pale Emperor, Marilyn Manson has returned to straight-ahead shock. "I write songs to fight and to fuck to," he sings on "Je$u$ Cri$i$," from his 10th LP, over spiky, electro-hard-rock riffs that occasionally recall his glammy Mechanical Animals period. That old black magic often sounds forced, but he makes up for it with a few more melancholy tracks, the best of which, "Saturnalia," is an eight-minute ode to orgiastic revelry that feels like a long-lost descendant of Bauhaus' "Bela Lugosi's Dead."
Oasis singer sticks to brawny Britpop and Beatle-esque melodies on solo debut.
It may be the closest Liam Gallagher has come to apology. "In my defence all my intentions were good," the ex-Oasis singer asserts on his solo debut, in a song that shares its title with Buffalo Springfield's "For What It's Worth." "But I am a dreamer by design," Gallagher adds, as good a description of kamikaze stardom as anything he sang in Oasis, from his brother Noel's songbook. Eight years after that band's messy breakup, Liam puts his signature voice on the line in a mostly original set of strut and reflection that sticks to Oasis' template – brawny Britpop, Beatle-esque ballads – and often invigorates it.
Like his brother, Liam openly quotes his inspirations: "She's so purple haze" (the suitably dreamy "When I'm in Need"); "Angels, gimme shelter/Cause I'm about to fall" (the harder, thumping "You Better Run"). There are fresh twists on the classicism too: the slashing-riff charge and falling-vocal chorus in "Greedy Soul"; Gallagher's scouring bray swimming through the acid-folk "Chinatown." As You Were lacks one Oasis specialty – straight-up helter skelter. But if the album is a few steps shy of his old band's best, it has Gallagher writing like he means it and singing like his dream isn't over.
Kiwis return with more woozy synth-pop.
Yumi Zouma opted to decamp to their native Christchurch to knuckle down on their second record, the result sparkling with the same shiny, polished electronic sheen that defined their much-admired debut Yoncalla. This is disco-influenced dream-pop at its most wistful, strongly in the vein of early Empire of the Sun, but ultimately the album, while pleasant and breezy, feels a little one-paced, unobtrusive and samey. Highpoints come when Christie Simpson's understated and distant vocals transcend the hazy production ("In Blue"), otherwise the LP can be regarded as one of considerable skill, but little penetration.
Bloc Party frontman's transition to earnest singer-songwriter.
Well, this is unexpected. Trickling acoustic guitars, parping woodwinds and sighing strings are not what you'd associate with Okereke. Unfortunately the transition to earnest singer-songwriter on his third solo album is an awkward one. For starters, his voice is more suited to impassioned yelping in front of post-punk or electronica, and it shrinks when spotlit in crooner mode. His attempts at gloomy folk ("Streets Been Talkin"), polite soul-pop ("Do U Right") and a song for his kid ("Savannah") sound stretched, and the whimsical vamping of "Capers" is ill-advised. Lyrically, things you can get away with when yammering over a racket don't pass muster in quiet mode.
Toronto folk singer expands her sound on compelling fourth LP.
With its ragged, sometimes strangled electrified guitars ("Complicit") and bustling drums ("Kept it All to Myself"), Tamara Lindeman's self-described 'rock & roll record' builds on the delicate trad-folk that has long soundtracked her poetic profundities. Less like fellow Canadians Jennifer Castle and Joni Mitchell – nudging, instead, early Fairport Convention – the rawer textures underscore the gutsiness of Lindeman's insightful meditations on the shifting sands of selfhood and relationships ("Thirty"). It's all carried by her spellbinding vocals – which hint that she has even more to say than time allows.
Sydney metallers push the sonic extremes.
On their third full-length Sydney metallers Lo! draw heavily on the Lamb of God and Meshuggah playbooks, vocalist Sam Dillon summoning the guttural roar of LOG's Randy Blythe over a corrosive collection of thrash riffing and time-signature-bending rhythms. It's undeniably powerful stuff, crippled only by the feeling we've heard this before. The atmospheric, spoken-word "Bombardier" provides welcome, moody respite from the aural battering around it, flowing nicely into the more sludgey "A Tiger Moth's Shadow". "Judas Steer", too, demonstrates an ability to inject dynamics into its blastbeat insanity, a formidable example of what Lo! can do.
Our take on Twain's 'Now' and Cyrus' 'Younger Now'.
There's always been something contentious about the borders of country music, borders that Shania Twain and Miley Cyrus have spent their very different careers exploring. In the Nineties "is this country or is it disco" culture wars, Shania scandalized Nashville propriety with her glam-rock flash and mirror-ball glitz, just a few years after Miley's dad Billy Ray Cyrus came out of nowhere with the ass-wiggling dance-craze blockbuster "Achy Breaky Heart." Miley, of course, grew up playing Hannah Montana on the Disney Channel before turning into America's favorite sex-drugs-and-twerking shock-pop diva. But Miley and Shania have both served as noble pioneers, opening old-school country up to alien sounds – though on their new records, both of them aim to get back to their roots, however un-rootsy these roots might be.
The New Improved Miley of 2017 is as far from "We Can't Stop" and Bangerz as that Miley was from "See You Again" and Hannah Montana. Her last album – just two years ago – was a psychedelic rock opera about her dead pets (R.I.P., Pablow the Blowfish) with a genuinely touching galactic-sex ballad, "Something About Space Dude," one of the last great songs written about David Bowie in his lifetime. But the Dead Petz-eraMiley now sleeps with the blowfishes. Her new Younger Now is the debut of yet another Miley, playing down her whimsical and outrageous quirks for a[ ]sincerity-intensive move into the country-pop maturity of "Malibu." Still only 24, she's out to rebrand herself as a dues-paying twerk-free Nashville adult – any remaining Flaming Lips influence has gotten toned way down.
Cyrus' ace in the hole has always been the dusky country ache in her voice, which she's carried with her through all her incarnations. All over Younger Now, she revives her Southern accent, demonstrating her Nashville bona fides by including a voicemail from her godmom Dolly Parton to cue their Monkees-esque duet "Rainbowland." The songs are deliberately low-affect, if short on personality compared to her other albums. But the attention-getter is the finale "Inspired," where she writes a folksy country ballad to express some of her fears about climate change, with the opening lines, "I'm writing down my dreams/All I'd like to see/Starting with the bees." In this context, it's refreshing to hear from the Old Weird Miley again.
For Shania, Now is her first album in 15 years, after a historic run that rewrote the rules of country with hits like "That Don't Impress Me Much," "You Win My Love" and "Man! I Feel Like a Woman!" As a Canadian chanteuse married to Def Leppard's producer, with zero nostalgia and no apparent sense of shame, Twain was perfectly positioned to mix up Eurodisco beats with fiddles and steel guitars for an emerging global audience. (She got her break singing in an Ontario resort revue called Viva Vegas, which made all the sense in the world.) Since her 2002 Up!, she's endured a high-profile divorce from Mutt Lange, a two-year Las Vegas residency and a sorely underrated reality show on the Oprah Winfrey Network, Shania Twain: Why Not? (Not to mention blowing up Drake's Instagram.)
From the opening seconds of "Swingin' With My Eyes Closed," it's clear Shania's up to her old genre-trashing tricks – the quasi-metal guitar twang and "We Will Rock You" stomp of "Any Man of Mine" meet a reggae skank, and for good measure, she urges us all to throw our fists in the air like we just don't care. As you'd expect, the songs on Now are her mid-life personal statements, along the lines of "Poor Me" and "Roll Me on the River," with an emphasis on post-divorce piano ballads about getting the Shania groove back. (As she sings in "Life's About to Get Good," "I wasn't just broken, I was shattered/ … /I couldn't move on and I think you were flattered.") Maybe next time she'll cover "Hotline Bling." But like Miley, Shania is taking inspiration from the expansively chaotic sound of contemporary country pop – a sound she helped to shape in the first place.
Main page illustration by Yuta Onoda.
Indie pop classicists mine a melancholy streak.
David McCormack is feeling the distance on the second LP of Custard's second life. The defeated conclusion of "In the Grand Scheme of Things (None of This Really Matters)" gives a melancholy hue to the Brisbane band's tragicomedy. Missing persons and old memories haunt his empty house from "Halley's Comet" to "Dr Huxley Creeper". The modern male panic of "2000 Woman" is lighter, but even the wry political twist of Glenn Thompson's "Police Cars" has an air of lament. The quartet's minimalist pop is sound enough for another lap, though their best new tune, the pedal steel farewell of "Take It From Here", is also their saddest.
Compelling first album from Melbourne up-and-comer.
Your early 20s are about making mistakes. Lahey spends much of her debut LP untangling bad decisions and battling ennui. She does so in such a tricky fashion, it's easy to mistake these wry observations for love songs. "You make double-vision bad decisions/but that's OK with me," Lahey tells a noxious lover on "Backpack", effervescent synths transforming her over-driven guitar pop into something more anthemic. The title track packs a tighter punch, Lahey's lyrics delivered Ramones-like over a simple garage riff, while "There's No Money" sprawls itself out over dreamy layers of guitar. It's these new shades that make Lahey's debut compelling.
Solid statement from local duo with impeccable influences.
Jessica Mincher and Billy James took their time crafting a follow-up to 2015's striking EP, Baby Blue. This debut album feels carefully plotted, with plenty of nuance amid the reverb-soaked late-night atmospherics. The best tracks feel both of-the-moment and nostalgic: "Real Cool" recalls peak-period Air, "Don't Know Where I'm Going" takes its cues from Mazzy Star. What's missing is an element that's uniquely Noire's – the music is so referential it's hard to figure out what sort of people Mincher and James might be outside the recording studio. Still, with foundations as sturdy as these, the duo's future is bright.
Powerful post-punk whose message gets muddled.
Protomartyr open their fourth LP with a fiery mission statement railing against our "age of blasting trumpets". It showcases Joe Casey's brooding vocals and barbed lyrics as much as the Detroit post-punk quartet's gripping dynamic shifts, but the band soon surrender some of their impact. Despite highlights in the synth-warmed meditation "Night-Blooming Cereus" and the pointed commentary of "Male Plague", Protomartyr's message often gets muddled. Casey lapses into Hold Steady-style talk-singing, while other tracks are blunted by so much blustering distortion. It's reliably intense, but at the expense of articulation.