While the events of 2020 has put a lot of entertainment on the backburner, even including the regular release schedule of albums, it hasn’t exactly put the kibosh on the usual round of reissues and remasters. These are usually planned well in advance, of course, with most of the remastering production done over the course of the time leading up to it.
Here are a few of my favorites that have dropped this year!
Porcupine Tree, In Absentia (Deluxe Edition), released 28 February. This release of their stellar 2002 record features recent remasters — a day job lead singer/guitarist Steven Wilson has been busy with for the last few years — and numerous demos and rarities.
The The, See Without Beeing Seen, released 27 March. Cassette copies of one of Matt Johnson’s early teenage projects recorded before 1981’s Burning Blue Soul were unearthed, prepped and made widely available for the very first time. It may not be as professional as his later work, you can definitely hear the seeds of his signature style.
Paul McCartney, Flaming Pie (Archive Collection), released 31 July. Paul’s 1997 album was deeply inspired by two things: the Beatles’ Anthology project and his relationship with Linda as she fought cancer. It’s full of lovely classic Macca pop songs and features an abundance of guests such as Ringo, Steve Miller, and Jeff Lynne. This reissue features numerous demos, single sides, and the six-part ‘Oobu Joobu’ radio show he’d put on as part of the album’s promotions.
Prince, Sign ‘o’ the Times (Super Deluxe Edition), released 25 September. I posted about this one earlier, and I can’t say enough about how amazing it is. It somehow manages to fit the remastered 1987 album, the multiple 1986 projects that led up to it, and a full live show.
John Lennon, Gimme Some Truth, released 9 October. This is not so much a ‘greatest hits’ collection but an extended selection of hits, singles and deep tracks, all of which have been remastered with ‘Ultimate Mixes’, and they sound so much clearer than I’ve ever heard them.
The Replacements, Pleased to Meet Me (Deluxe Edition), released 9 October. The Mats’ 1987 record (the first one of theirs I’d bought, by the way) gets the remaster / reissue here with rough mixes and demos. It’s one of their poppier albums and a fun listen.
Elvis Costello, Armed Forces (Super Deluxe Edition), released 6 November. Elvis’ third album was his breakthrough record and remains a fan favorite. There’s not too much new and unreleased in this collection, but it gathers as much related music from the 1978-79 era and drops it in one place, and it sounds great.
First off, I should say that 1) I’m quite the latecomer to K-Pop. I’ve been well aware of it, but never paid all that much attention to it until relatvely recently, and 2) I am so not a gamer, so I have little to no background or interest in League of Legends.
That said, I cannot seem to get enough of the LoL virtual spinoff band K/DA (its name of course being a reference to a player’s kills, deaths and assists), as a part of Riot Games’ plan to include more original music in the LoL universe. It features Miyeon and Soyeon from the k-pop band (G)I-DLE as well as soloists Madison Beer and Jaira Burns playing the in-game characters Ahri, Akali, Evelynn and Kai-Sa respectively.
The 2018 single “Pop/Stars” came to my attention due to a few gifs of featuring a masked Akali (the tomboyish ninja assassin) rapping in a subway car, and after falling down the YouTube rabbit hole, I found the video and was blown away by the creative animation.
Sure, they’re eye candy for the gamer boys, but damn if this song didn’t get stuck in my head on a daily basis! I’d put it on my mp3 player that I brought to the gym and found myself playing it on repeat. It wasn’t just a great video, it was a damn fine pop song with some tight production work. It sounds absolutely amazing in headphones, so I imagine it would sound great on high-end speakers as well. It ended up on my end-of-year mix and I still throw it on now and again. And yes, it got me interested in (G)I-DLE as well!
League of Legends continued to release a few more tunes and videos to coincide with their World Championship event (2019 saw the badass track “GIANTS” by True Damage, and 2020 featured “Take Over” by Worlds 2020), but apparently the K/DA track proved to be so popular that it was announced they would release more music as a virtual band.
In late August of this year they dropped the news that a new EP would be released, and released the lead single “The Baddest” soon after. And wouldn’t you know, this song got stuck in my damn head as well! While it’s merely a lyric video with minimal animation, it’s still a great track and has already gotten over a million watches on YouTube.
The accompanying EP, All Out, was released this past Friday (11/6) and it features the above song as well as the follow-up single “More”, which returns us to another high quality virtual band setting and featuring another LoL in-game character, Seraphine, as a special guest. It’s another visual feast with all kinds of eye candy but also a lot of fun blink-and-you’ll-miss-it drop edits (such as Akali causing Serpahine to bust up laughing near the end). And just like the previous singles, “More” is a hell of a fine earworm. This one’s going on my year-end mix, of course.
The rest of All Out is just as fun and worth checking out if you have the time!
September was one hell of a great month for new releases! So much so that it gets its own post! Here we go…
Tricky, Fall to Pieces, released 4 September. His first record after the death of his daughter is a dark and somber affair, but it’s also about healing from that pain.
Throwing Muses, Sun Racket, released 4 September. It’s indeed a racket, with Kristin Hersh turning up the volume and kicking out some great noisy tunes reminiscent of their early 4AD records.
Doves, The Universal Want, released 11 September. They haven’t released a record in ages, having been on a hyperextended hiatus, but the new album is so worth the wait! They haven’t lost their touch at all.
Cults, Host, released 18 September. This band has a way of merging alternapop sensibilities with experimental sounds, and it works like a charm here.
Sault, Untitled (Rise), released 18 September. As mentioned previously, no one really knows much of anything about this band at all, other than that their output is prolific (this is their fourth album in the span of two years!) and it’s all amazing. Highly recommended.
Semisonic, You’re Not Alone EP, released 18 September. Wait — Semisonic released a new EP?? Dan Wilson is still an amazing songwriter and this is certainly a welcome return!
Bob Mould, Blue Hearts, released 25 September. Oh man, this was the punk album we definitely needed at this point in time. Mould is pissed off and this is the angriest album he’s dropped probably since Black Sheets of Rain.
Prince, Sign ‘o’ the Times Super Deluxe Reissue, released 25 September. I posted about this one previously, and it was well worth the wait. The deep dive into alternative versions, demos, live tracks and unreleased songs will take you a few days, but it’s a fascinating ride.
Idles, Ultra Mono, released 25 September. These guys deliver powerful lyrics and brick-wall noise, but they have a super-strong conscience that they’ve never lost in any of their songs. Also, check out the video for ‘A Hymn’, which shows their softer side by riding along with their parents on a mundane grocery run during the pandemic.
Whew! Yeah, that was a great month. More tunage to come later in the season!
Coming back with a few more releases that have been getting some considerable repeat play here in Spare Oom!
BRONSON, BRONSON, released 7 August. A new side project of Odesza and Golden Features, the cool smoothness of this record is perfect both for relaxation and for my writing sessions!
Glass Animals, Dreamland, released 7 August. They’re a quirky band with weird sounds and vocal deliveries, and yet they’re consistently catchy and fun.
Secret Machines, Awake in the Brain Chamber, released 21 August. I had no idea they’d been working on a new record, and it’s just as bold and soaring as their previous releases. And like them, it sounds great when it’s loud!
Cut Copy, Freeze, Melt, released 21 August. This record is a much more chill and laid back affair, but it’s got some of their most gorgeous melodies on it! Another great writing session album!
Bob Moses, Desire EP, released 28 August. This is one of my “I will buy anything they release” bands, and this continuous-mix collection is so worth it. They’ve become one of my go-to bands for many of my recent writing projects!
PVRIS, Use Me, releases 28 August. Another great moody semi-electronic alt-rock band (from Lowell MA!) with a lot of groovy and atmospheric tunes.
I was going to add more here, but I realized that September is gonna need its own entry (or two) because there was just SO MUCH that came out that I fell in love with! More to come soon!
Oh hey! It’s time for another month’s worth of new releases! The first quarter’s music so far has been surprisingly fruitful with a lot of great albums, and I’m quite happy about that! Here are a few new records I’ve been playing on my mp3 player as of late…
Destroyer, Have We Met, released 31 January. This is a rather quirky band that’s been around for quite some time, but their music has always been consistently melodic and intriguing.
Joseph, Trio Sessions: Vol 1, released 31 January. This is a fine alt-folk trio that channels the sounds of 70s Laurel Canyon and their three-way harmony is just lovely. I highly suggest checking out the rest of their work as well.
Poliça, When We Stay Alive, released 31 January. This Minneapolis band has always been a bit on the strange side with their music, but this new one is far more soulful and moving than their previous work. It’s an unexpected but wholly welcome direction and I love it.
Revolution, I Love You, Black Feathers, released 7 February.I don’t even remember where I’d discovered this band (NoiseTrade, perhaps?) but I fell in love with their strange but amazing mix of shoegaze, goth, synthpop and maybe even a bit of punk. The new record goes in all sorts of unexpected and wonderful directions.
Green Day, Father of All…, released 7 February. The new album kind of reminds me oftheir late 90s/early 00s era records, especially Nimrod and Warning, as the songs slide between all-out punk assaults and radio-friendly groovy rock. Not that that’s a bad thing, because they still manage to pull it all off.
Stone Temple Pilots, Perdida, released 7 February. They’ve lost two singers and that’s enough to break any band, but the DeLeo brothers soldiered on to write and record a stunningly gorgeous and heartbreaking album.
Hayley Williams, Petals for Armor 1 EP, released 7 February. The Paramore lead singer finally releases her first solo outing and it’s well worth the wait. It’s darker and quieter than her band work, but it’s just as powerful.
Best Coast, Always Tomorrow, released 21 February. I’ve always liked this band, and I love how they’ve completely embraced their own brand of that California sound — sunny, punchy, and just that little bit off-kilter. This one’s a fun and infectious record and I really should be playing it a lot more!
Grimes, Miss Anthropocene, released 21 February. I did not expect to enjoy the new Grimes as much as I do! She’s quite firmly in the ‘off in their own universe’ column when it comes to musicians and personalities, but the new record is just brimming with really neat sounds and ideas that pulled me completely in from the beginning. One of my favorites so far!
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!