Hey there! It’s been far too long since I’ve posted one of these, and I’m trying to be good and keep up this time out. There promises to be some interesting new albums coming out this year, some from new bands and some from old favorites. And now that I’m able to listen to my favorite station at work via a phone app, I’m going to try to stay on top of this again!
Here’s a few new releases worth checking out:
Stabbing Westward, Dead and Gone EP, released 3 January. Well, this was unexpected! I had no idea they’d gotten back together (their last record was their self-titled fourth album waaaaay back in 2001), but their new record is a banger. They’re still loud and noisy as hell, and that’s just how I like them.
Field Music, Making a New World, released 10 January. On the other end of the spectrum we have a band steeped in that quirky angular sound that feels and sounds very much like Eno, Belew and Byrne. A bit odd but still catchy.
Beach Slang, The Deadbeat Bang of Heartbreak City, released 10 January. Not as frenetic as their previous albums, they seem to have embraced that 80s new wave guitar group sound, and they wear it really well. I’m really digging this one a lot.
Deserta, Black Aura My Sun, released 17 January. I know I’ve posted this track earlier, but I just cannot stop listening to it! The entire album is full of that soaring guitar reverb slicing its way through tracks, gorgeous spacey passages and dreamy vocals. This one’s been getting the most play on my mp3 player lately!
Holy Fuck, Deleter, released 17 January. Another band I knew of (due to its, er, distinctive name, of course), but I hadn’t expected them to be so groovy! And bonus points for having Hot Chip’s Alexis Taylor on the vocals on this excellent track.
Wire, Mind Hive, released 24 January. I’m intrigued by the last few Wire records, as they feel like hybrids of both old and new sounds. This one in particular sounds a lot like their early 00s Read & Burn / Send output but also is quite similar to the darker melodies of 154 and Chairs Missing, and I love it. Great to see they’re still consistently amazing after all these years.
Oops! I’m a month late on this, so this is going to be a slightly longer one, encompassing the various releases I’ve been raving about from June to September. Enjoy!
Silversun Pickups, Widow’s Weeds, released 9 June. Always twitchy, always off-kilter, and always amazing.
Hot Chip, A Bath Full of Ecstasy, release 21 June. A rather laid back and mellow record for them, bu this style suits them extremely well.
Hatchie, Keepsake, released 21 June. One of my favorite finds thanks to KEXP, they’re good alt-poppy fun with some killer bass riffs!
Drab Majesty, Modern Mirror, released 12 July. Highly recommended if you like that 80s gothy synth sound. Definitely reminds me of Clan of Xymox.
311, Voyager, released 12 July. As said before, whenever 311 drops a record I will always pick it up. Good funky fun.
DJ Shadow featuring De La Soul, “Rocket Fuel” single, released 24 July. Another KEXP find, this has to be one of my top favorite songs of the year. It’s a fantastic throwback rap tune you’d have heard in the late 80s. Definitely a nod to Run-DMC on this track.
Jay Som, Anak Ko, released 23 August. Light and lovely guitar alt-rock topped with dreamy vocals. But not shoegaze! “Superbike” is another track that’s been stuck in my head for months.
NAVVI, 25O2 EP, released 30 August. Filed alongside HAELOS as one of my go-to bands for blissful dance alt-pop. It’s a short five-song EP, but it’s got some ace tunes on it.
Tennis System, Lovesick, released 6 September. This band reminds me of Swervedriver with their loud and dissonant shoegaze guitar crunch. Surprisingly a great listen for my writing sessions!
Pixies, Beneath the Eyrie, released 13 September. The long-awaited new Pixies record is strangely spooky this time out. I’m not too surprised considering Frank Black’s forays into weird subject matters, but the creepiness translates well in this case.
Brittany Howard, Jaime, released 20 September. The Alabama Shakes singer brings us an amazing soulful and jazzy solo record filled with blazing funky riffs. Excellent stuff.
blink-182, Nine, released 20 September. We got to see this band live at Outside Lands this year and they were just as amazing as I thought they’d be. Older and ever so slightly more mature, they’re still tight as hell.
The Beatles, Abbey Road Super Deluxe Edition, released 27 September. Of COURSE I have to have this on the list! I’ll give you all a much more detailed response to the release once I finally get my copy (it’s in the mail at this time), but from what I’ve heard via streaming, Giles Martin has remixed it just enough to improve on what is already a fantastic album. The extras are also a hell of a lot of fun!
OH HEY It’s been ages since I’ve posted something here, hasn’t it? I suppose I should catch up! Time to provide you with a list of some of my favorite new releases from mid-March to the present!
American Football, American Football (LP3), released 22 March. This is definitely a band to have in your collection. It’s laid-back post-rock, only more melodic and jazzy. And they do write beautiful melodies.
UNKLE, The Road Pt 2: Lost Highway, released 29 March. Surprisingly more upbeat and introspective than The Road Pt 1, but still a moody epic from James Lavelle. Big props for getting Tom Smith (the lead singer of Editors) to sing one of the album’s best tracks.
Billie Eilish, When We All Fall Asleep, Where Do We Go?, released 29 March. This is such a hard album to pin down, because it’s so freaking weird. It’s not goofy-weird like, say, Flaming Lips. More like I think there might be something wrong with you weird. And it’s also dead clever — sound effects and vocal stutters whiz by unexpectedly, the lyrics often hide a wicked sense of humor, and the production is just fantastic.
PUP, Morbid Stuff, released 5 April. Goofy pop-punk with dark undertones, it’s a fun romp even when they’re singing about shitty things.
Fontaines DC, Dogrel, released 12 April. Old-fashioned working-class punk from Dublin, this band’s a favorite of KEXP, who got me completely hooked on them.
New Age Healers, “Hang On” single, released 15 April. I’m really digging this band, partly because they channel the Stone Roses so damn well! Great tunes and lovely dreamlike sound. I’m looking forward to hearing more from this band.
Lamb, The Secret of Letting Go, released 26 April. Still amazing after all these years, this band never fails to capture the perfect mood in their music. Still one of my favorite bands to listen to during writing sessions!
Vampire Weekend, Father of the Bride, released 3 May. This record completely surprised me by how damn good it is! They seem to have eased back considerably on their trademark quirkiness and focused more on the not-quite-retro semi-acoustic sound reminiscent of their first record. For a double-album, it’s solid from start to finish.
HAELOS, Any Random Kindness, released 10 May. Why did it take me so damn long to get into this band? I mean seriously: moody lyrics, atmospheric production, dreamlike melodies…this is 100% in my wheelhouse! This one has been getting extremely heavy play here in Spare Oom, and it’s not going away any time soon.
Charly Bliss, Young Enough, released 10 May. This band could easily have fallen into the sophomore slump, but they pulled through and recorded an even more solid record than their debut! Great bouncy punk fun.
The National, I Am Easy to Find, released 17 May. Always slightly strange, always moody and meandering, but never a dull moment from this band. It’s brighter than their previous record and a wonderful listen.
The Head and the Heart, Living Mirage, released 17 May. This band has evolved in so many different ways you can’t really file them in with the other alt-folk bands anymore, but they’ve definitely hit their stride with this new record.
Well! I seem to have gone against my own better judgement and previous complaining about writing schedules by deciding that maybe working off the whiteboard isn’t all that bad a thing after all. The more I thought about it, the more I really enjoyed talking about both new and old music here at Walk in Silence, so hopefully starting this month I’ll be back on a twice-a-week schedule again. We shall see…!
…finally! My hiatus is over and I’ve decided to return to the fold with my continued obsession with all things music. In the end it wasn’t all that hard a decision, as I’d come to miss blogging about my latest listening habits. I like sharing the new (and old!) things I find on the intertubes and elsewhere. The one thing I’d wanted to ease back on, however, was the amount of content I was forcing myself to come up with on a weekly basis. Two entries a week isn’t all that bad for me, but two entries a week for each blog was definitely exhausting, especially near the end there!
So what did I do during the hiatus? I mean, aside from checking out new releases and revisiting older catalogs? I had a good long think about what I wanted to do with my blogs here. I eventually decided that I really did want to return to what I’d been posting for the last few years, though I felt it was time for me to scale it back a bit to give myself more time for other projects I wanted to work on. SO! What does this mean, anyway? Well, this means that I am back from here on in, but I’ll only be posting once a week on Mondays. Why Monday? Basically because that’ll give me time to give Friday’s new releases a good repeated listen over the weekend, when I have more time to write them out.
That said…let me catch you up on some of the tunage I’ve been listening to since January!
Toro Y Moi, Outer Peace, released 18 January. “Freelance” is one of those tunes that gets stuck in your head for DAYS, which isn’t really all that bad a thing, considering that it’s funky as hell and reminds me of all the best Daft Punk songs. The rest of the album is just as fun.
Weezer, Weezer (the teal album), released 24 January. Okay, so this was essentially a silly throwaway album of 80s covers, but they managed to pull it off! Taken at face value, these are solid interpretations that are faithful to the originals without a hint of irony. These are songs they (and I) grew up with, so why the hell not, right?
Skunk Anansie, 25Live@25, released 25 January. One of my favorite 90s bands that never got their due here in the States, they released a 2-cd collection of a recent 25th anniversary tour and it’s a solid selection of their entire catalog and well worth checking out. And Skin is a freaking amazing vocalist.
Boy Harsher, Careful, released 1 February. One of numerous songs and bands I’ve discovered through KEXP online in the last six months, I fell in love with this album purely because it reminds me of that late-80s darkwave sound I loved so much. Specifically, they reminded me so much of Clan of Xymox (especially the Twist of Shadows album) that I went and downloaded it on the strength of one song.
The Specials, Encore, released 1 February. The Specials have been here and there over the years, but this particular album sees the return of singer Terry Hall, who hadn’t been with them for ages. The new record returns to their classic Two-Tone sound as well. Well worth checking out.
White Lies, Five, released 1 February. I’d almost forgotten about this band (I have an album of theirs from quite a few years back) but thanks to AllMusic’s suggestion, I’m glad I checked out the record because it’s fantastic. Similar to Boy Harsher it’s got that late 80s darkwave sound, though with a more melodic sound similar to Camouflage.
Mercury Rev, Bobbie Gentry’s The Delta Sweete Revisited, released 8 February. I did not expect to love this album as much as I do, as I don’t know too many Bobbie Gentry songs other than ‘Ode to Billie Joe’. This is definitely an album recorded for a serious music fan, by same; it’s the band handing you Bobbie Gentry’s music and saying ‘you HAVE to listen to this, it’s amazing.’
Beck’s cover of “Tarantula” from Music Inspired by the film Roma, released 8 February. It’s really a cover of a cover; he’s doing the This Mortal Coil interpretation of the Colourbox track. It’s extremely close to that version, but he makes it his own by brightening the reverb and using a choir. This could easily fit on his Morning Phase album.
Bis, Slight Disconnects, released 15 February. YAY! New Bis album!! Poppy, bouncy and punky, and a hell of a lot of fun. They still sound like a cartoon after all these years, and that’s exactly what makes them so great.
Big Wreck “Locomotive” single, released 22 February. I’ve loved this band since “The Oaf” way back in 1997, and they’re still a great hard rock band with hints of blues, country and maybe even a bit of that jam-prog sound as well. Glad to hear them still going strong.
Chasms, The Mirage, released 22 February. Oh, this one is TOTALLY my wheelhouse. It’s full of shoegazey echo and slides easily between 80s darkwave (there we go again), Love and Rockets’ early psychedelic sound, and the gorgeousness of Slowdive. A lovely album to listen to, especially during my writing sessions.
Hozier, Wasteland, Baby!, released 1 March. I was never the biggest fan, but his new album has totally sold me on him. I didn’t expect it to be so dark and haunting yet so beautiful and moving.
Foals, Everything Not Saved Will Be Lost, Part 1, released 8 March. Yet another band taking the route of releasing multiple shorter albums or EPs over the course of an extended time, but I do so love those because they’re often more cohesive and stronger. This is a darker album for them (which is saying something) but it’s also a stronger and more melodic one for them as well.
The Cinematic Orchestra, To Believe, released 15 March. My favorite find from last Friday, this is a fascinating record that kind of reminds me of my favorite Unkle albums; dark and brooding yet beautiful in their own way. Definitely on my writing session playlist already.
…so yeah, it’s good to be back here on the internets. See you next Monday!
Hi there! While I was hiding out and taking a blogging break, I of course kept listening to all the new tunage coming our way. I have to say I’ve been right pleased with the crop of releases for 2018 (further proving my theory that the best music comes out in years ending with 2 and 8, heh). Here’s some great stuff that came out this past month.
Dead Can Dance, Dionysus, released 2 November. An unexpected yet fascinating release from a great band. It’s essentially two side-long tracks threading multiple melodies together, but it’s a fascinating listen. I’d say it’s similar to their 90s output in sound and rhythm.
The Neighbourhood, Hard to imagine the neighbourhood ever changing, released 2 November. Okay, so essentially this is their self-titled album plus tracks from the Hard, To Imagine and Ever Changing EPs (whose names finally make sense now) and resequenced into a full album, but it’s still great. I love how they’ve evolved from the radio-friendly “Sweater Weather” to murky and experimental alt-rock. A solid collection.
Steven WIlson, Home Invasion: In Concert at the Royal Albert Hall, released 2 November. A great live album from one of my favorite multi-instrumentalists. It features a good cross-section of his solo output with a few Porcupine Tree surprises in there.
K-DA (feat. Madison Beer, (G)I-DLE & Jaira Burns) “Pop/Stars” single, released 3 November. I’m totally not a gamer (this is from League of Legends) and this would not have been picked up on my radar otherwise, except that an artist I follow on Twitter commented on how freaking amazing the rendering was on this animated video. And it’s a killer track that gets stuck in my head now.
Laura Jane Grace & the Devouring Mothers, Bought to Rot, released 9 November. An energetic and raucous album, she really sounds like she had a hell of a fun time recording this one. Even the ridiculously spiteful “I Hate Chicago” sounds like there’s an element of playfulness.
Imagine Dragons, Origins, released 9 November. I’ll totally cop to being a big ID fan despite their corporate rock sound — they’re just so much fun to listen to, and their ability to switch styles during the course of a single album is impressive.
The Beatles, The Beatles (The White Album) Super Deluxe Edition, released 9 November. Well of COURSE this would be on my list here! Giles Martin did a fantastic job of remixing an album that’s caused all kinds of arguments between fans, musicians and producers over the years. It sounds clear and vibrant, but more importantly it brings out the band’s innate energies and gives each track a new life. Highly recommended, even if you’re a passing Beatle fan.
P.O.D., Circles, released 16 November. I’ve always liked this band ever since the Southtown album back in the day. Great alt-metal tunes to crank up loud in the headphones. A fantastic new release from them.
Failure, In the Future Your Body Will Be the Furthest Thing from Your Mind, released 16 November. An experiment for the band, they recorded this album four songs at a time over the course of 2018 and released them as EPs via PledgeMusic before dropping the entire album upon completion. While this could have easily caused the album to become disjointed, it flows beautifully and retains its energy and power throughout.
Hooverphonic, Looking for Stars, released 16 November. One of my favorite bands sneaks out an album while I’m not looking! They may have yet another new singer but they’ve retained their lovely atmospheric style I love so much. It sounds very similar to The Magnificent Tree, come to think of it.
The Smashing Pumpkins, Shiny and Oh So Bright Vol 1/LP: No Past. No Future. No Sun., released 16 November. With a ridiculous title like that, I really was expecting some kind of overblown navel-gazing monolith, but it’s actually a super-tight, super-fantastic, positive-sounding record that reminds me of Billy Corgan’s side project Zwan. I’m quite surprised and pleased by how fun it sounds.
Laibach, The Sound of Music, released 23 November. Our favorite Slovenian band takes its turn at covering songs from the Rodgers/Hammerstein musical and does it in their usual disturbing yet fascinating style. Only they could make the purposely childish “Do-Re-Mi” sound sinister, proggy and awesome. Bonus points for managing to intertwine the music with their attempt to play a live show in North Korea some time ago.
Art Brut, Wham! Bang! Pow! Let’s Rock Out!, released 23 November. These lovable goofballs return after a long absence with more punk silliness and infectious party rock. A very welcome return. Hooray!
The 1975, A Brief Inquiry Into Online Relationships, released 30 November. This band has evolved in so many fantastic and unexpected ways that I’m always fascinated with what their next song will sound like. This time out they’re twitchy and poppy, alternating between technopop giddiness and Radiohead-like weirdness. I’m still not quite sure what to make of this album, but it’s definitely amazing.
Coming Soon: December releases and a Year-End Roundup!
October has had a bumper crop of amazing releases, much to my surprise! Sometimes these latecomers can go either way… they may be filler, or they may not quite live up to the hype, but this time out it most definitely did. Loads of tunes worth checking out…
John Lennon, Imagine – The Ultimate Collection, relesed 5 October. Although John’s solo output wasn’t as pop-oriented or catchy as Paul’s, when he nailed it, it was flawless. His 1971 album Imagine gets a multi-disk overview here, filled with demos and alternate takes, as well as fascinating partial mixes (such as the amazing strings-only ‘Elements Mix’ of “Imagine”), all of which are worth checking out if you’re a hardcore Beatle fan.
Kristin Hersh, Possible Dust Clouds, released 5 October. I love the claustrophobic loudness of this album, a style Hersh perfected way back in her early Throwing Muses days. One of my favorites of her recent output.
Matt Nathanson, Sings His Sad Heart, released 5 October. After the surprise release earlier this year of his Def Leppard covers EP (which earned kudos from DL singer Joe Elliott himself!), Matt returns to his pop roots and writes an album that on the surface might be somewhat melancholy, but never ignores the more positive future.
Kurt Vile, Bottle It In, released 12 October. Kurt is one of those musicians I never thought I’d get into, but I find his stuff fascinating. It’s off-kilter alt-folk very similar to Courtney Barnett (no surprise they released an album together last year) with some really inventive and fun songs.
Justin Courtney Pierre, In the Drink, released 12 October. The former Motion City Soundtrack singer surprised everyone (even himself!) by releasing a solo record, and it’s just as great as you’d think it would be. Very similar in sound to his MCS work, and just as peculiar and fun.
Live, Local 717 EP, released 12 October. I was pleasantly surprised by this record — Ed Kowalczyk is back in the fold as lead singer — and the music is just as solid and powerful as their mid to late 90s output. Great to see them again!
Minus the Bear, Fair Enough EP, released 12 October. Alas this band has disbanded and this is their final release, but it’s a great way to go. I was late getting into their work, but their entire discography is worth checking out.
Cloud Nothings, Last Building Burning, released 19 October. This band has always been loud, but this record’s just brutal. It’s unrelenting, pissed-off punk that kicks you repeatedly in the head from the first note and doesn’t give up. A perfect punk record and one of my favorite releases this month.
Elle King, Shake the Spirit, released 19 October. Elle has no fucks to give, and she’s not afraid of letting you know that on this album. She’s always had sassy lyrics, but there’s an extra layer of it here. Sometimes it’s funny and clever, but just as often it’ll be pointed and biting. A great follow-up to her previous album.
Robyn, Honey, released 26 October. A VERY welcome return for the dance-pop singer, after a long personal hiatus. The new album is filled with infectious dance beats and sleek production and it’s a fun listen.
The Struts, Young & Dangerous, released 26 October. A very aptly named band with the cockiest swagger since the Rolling Stones. Their sound is most definitely a throwback to the late 70s-early 80s, with a bit of glam and a whole lot of attitude, but it’s an extremely fun if often ridiculous listen.
Sara Bareilles, “Armor” single, released 26 October. Per her Twitter, this wasn’t supposed to be released until early next year, but she felt its message was extremely important and much needed this second, and she’s not wrong. It’s a call-out to all the sexist bullshit going on out there and the power of inner strength to make it stop.
Semisonic, Feeling Strangely Fine (20th Anniversary Reissue), released 26 October. “Closing Time” may have been their biggest and only hit, but the rest of the album it’s from is simply amazing. Dan Wilson and Co. are stellar songwriters that know how to craft catchy tunes that get stuck in your head for days. This re-release has been remastered (it sounds much warmer than the original) and contains four b-sides as well.
Unknown Mortal Orchestra, IC-01 Hanoi, released 26 October. An unexpected but fascinating follow-up to their Sex & Food record from earlier this year, it’s an all-instrumental jazz-rock record that sounds a little like Meddle-era Pink Floyd with its swampy jam sound.
Thom Yorke, Suspiria OST, released 26 October. No big surprise that Yorke was tapped to do the score for the remake of the 1977 Italian horror flick, as it’s full of weirdness and creepiness that was only hinted at on the darker edges of Radiohead’s Kid A, Amnesiac and A Moon Shaped Pool. There’s a lot of instrumental score going on, but there’s also some great full-song tracks such as “Suspirium”. Worth checking out.
I’m actually kind of surprised I was able to come up with a sizable post for August, considering that I’ve been away for most of it! I did manage to catch up on a lot of great late-summer tunage, though. Enjoy!
James, Living in Extraordinary Times, released 3 August. I’m annoyed that the only song I ever hear of theirs on the radio is still “Laid” when they have so many great albums, including this new one. They’re all definitely worth checking out.
Capital Cities, Solarize, released 10 August. A mix of older singles and EP tracks and newer material, the duo’s second album is refreshing, poppy fun.
Prince, Anthology 1995-2010, released 17 August. I was rather surprised by this album. Instead of a greatest hits mix, it’s a collection of deep cuts from The Gold Experience to 20Ten. As I hadn’t listened to that era in ages, so I’d forgotten how frikkin AMAZING he truly was as a songwriter. It’s a fantastic listen and highly suggested.
Death Cab for Cutie, Thank You for Today, released 17 August. The new record is well worth the wait. Ben Gibbard and co. have hit their stride here, returning to their meandering melodies and quirky lyrics but keeping it fresh. Also, mad props for sampling/borrowing from Yoko Ono’s “Mind Train” on the first single!
Nothing, Dance on the Blacktop, released 24 August. A great follow-up to their previous record, Tired of Tomorrow. This one feels more melodic and kind of reminds me of a less blistering My Bloody Valentine.
Interpol, Marauder, released 24 August. I love this new album! It feels like a solid return to their original post-punk sound — it does kind of feel like they successfully recaptured the best parts of Turn on the Bright Lights in a way. They’ve regained a powerful sound that seems to have been missing from some of their previous albums.
Alice in Chains, Rainier Fog, released 24 August. Another album that sounds like a great return to form. AiC’s best quality has always been their distinctly swampy grunge sound, and it’s all over the place here.
Mogwai, Kin OST, released 31 August. While this isn’t their first soundtrack (they released Atomic in 2016 for a documentary of the same name), it’s their first for a Hollywood film, and I’m kind of surprised they haven’t been tapped to do more, because they’re naturals at it. It’s heavy, loud, and amazing.