Thirty Years On: Spring 1989

Hello and welcome to another episode of Thirty Years On! At this point in time I’m winding down the remaining weeks of my high school years…all the term papers handed in and graded, all final exams about to be taken, and future plans made. I’ve gone to an open house at Emerson College, which I’ll be attending that September. The biggest change at this time is that I’m going out with a lovely girl introduced to me by a mutual friend, which changes my emotional outlook considerably at the time. [Decades after our split, we’re still friends and talk online occasionally, by the way.] I’m focusing more on my poetry and lyrics than my novels, and in hindsight I realize that helped me get out of that creative rut.

I graduate in early May. My old friends from the year before have just come home from college temporarily and take me out for a celebratory dinner. I’m thrilled to spend more time with them again. I’m prepping myself for a new life in a new city. Now all I have to do is survive a few more months in my hometown. The waiting drives me absolutely bonkers, and there’s also the fact that I’ll have a newly-minted relationship turning into a long-distance one pretty soon. It’ll be a hell of a tough balance.

The Cure, “Lullaby” single, released in the UK on 4 April 1989. After waiting nearly a year for new music from one of my all-time favorite bands at the time, I was utterly blown away by their new sound. It wasn’t the upbeat alternarock of their last few albums, that was for sure. I’d first heard it on 120 Minutes and then on WAMH and I was hooked. I picked this twelve-inch up at Main Street Music down in Northampton (roadtrip with Chris, natch). I especially enjoyed the bizarre throwaway b-side “Babble” with its crying-baby samples and “shut up shut up” lyrics.

Xymox, Twist of Shadows, released 10 April 1989. I’d been a fan of this band since hearing their fantastic “Muscoviet Mosquito” on the 4AD compilation Lonely Is an Eyesore. By this time they’d moved away from their colder goth sound and embraced a more snythpoppy mood that fit them quite well. This is an excellent album that combines rich moods and dance beats without sounding soulless. Highly recommended; they just released an expanded remaster of this earlier this year!

Pixies, Doolittle, released 17 April 1989. There was always cause for celebration for a new Pixies record in Massachusetts, especially out yonder in the Pioneer Valley, and this one fast became a favorite of pretty much everyone. While less ear-splitting than Surfer Rosa, it still provided quite a few memorable tracks that would become fan favorites for years to come.

The Cure, “Fascination Street” single, released in the US on 18 April 1989. The lead-off single for this side of the pond was a much stronger — and angrier — track that held a power I hadn’t heard from the band probably since their Pornography album. If their upcoming record was going to be as damn good as their two singles, then it was gong to be pretty friggin’ amazing.

Wire, It’s Beginning to and Back Again, released May 1989. I wasn’t quite sure what to make of this particular record, on the other hand. Wire had been a huge favorite of mine the year previous, but instead of a new album with new and intriguing music, they’d gone in a slightly different direction; this was a record borne out of sound experimentation and live recording. Half the tracks were reinterpretations of songs from their last two albums and singles, with maybe one or two new songs added. (And the second new single, “In Vivo”, only available on cd. Because of this I never got around to hearing it for another year or so.) In retrospect it is an interesting record, but it’s not exactly a must-have unless you’re a dedicated fan.

The Cure, Disintegration, released 2 May 1989. “This music has been mixed to be played loud so TURN IT UP.” So says the liner notes on the Cure’s eighth and by far most popular and most-loved record. And turn it up I did, when I bought it on cassette the week it came out. From the glorious crash and downpour of synth strings on the opener “Plainsong” to the sad goodbye of a slightly out of tune melodica on the closer “Untitled”, it is so aurally immersive it’s almost impossible not to be drawn in by its beauty. It’s a completely perfect album on so many levels.

Bob Mould, Workbook, released 2 May 1989. Almost completely obscured by the above, Mould’s debut solo album, recorded after (and in some ways in response to) his acrimonious split from Husker Du, is a gorgeous masterpiece itself. He’d wanted to record an album that was the antithesis of the noisy punk he’d been known for, to prove he could write solid songs that were more melodic and acoustic. It as a smashing success for both critics and fans, paving the way for a successful long term career.

The Godfathers, More Songs About Love and Hate, released 9 May 1989. These British punkers followed up their brilliant Birth School Work Death with a record that leaned less on their psych-rock origins and more on their other influences, including Johnny Cash. There’s a fun raucousness on this record and doesn’t take itself entirely seriously sometimes, but it’s a solid album.

Tin Machine, Tin Machine, released 23 May 1989. This record divided Bowie fans something fierce when it came out. Some (like myself) thought it was an excellent about-face from the sterile pop-rock he’d been attempting for most of the 80s; some thought he was an old man past his prime trying to be relevant by playing hard rock out of his league; some had no idea what to make of it and ignored it completely. It’s full of anger, humor, and relentless power, and Bowie pulled it off brilliantly.

Public Image Ltd, 9, released 30 May 1989. This was a slow burner for me; while it had the groove and melody of 1987’s Happy? (which was a big favorite of mine), it also felt a little bit like a retread of that album, only with slightly longer songs and not nearly as much humor. Over the years I’ve come to enjoy it, however. It still feels a little overlong, but it’s still solid.

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Of course, now that I’ve revived the “___Years On” series, I’m half tempted to do some more reviews of previous years, especially the 1985-1987 era when post-punk started to sneak its way into the US mainstream, little by little, paving the way for the classic alternative rock albums and singles we all know and love.

Not to mention that I’m half-tempted to revive the Walk in Silence book project, which I’d put on the back burner quite some time ago.

We shall see…

Twenty Years On: Spring 1999

Time to catch up on the 20YO series again! This time out we have a whole slew of fine records that became my favorite records of that year. Many of them were played heavily during writing sessions in the Belfry, but many of them were also getting play in my car as I expanded my weekend pleasure drives and long commutes. I was still feeling that nudge of discomfort coming from various angles (mean boss, low funds, frustration with my writing projects), but at the same time I felt stronger and more confident than I’d ever felt that entire decade.

Porcupine Tree, Stupid Dream, released 6 April 1999. I didn’t discover PT until their next album (2000’s Lightbulb Sun) but I immediately checked this album out once I did, and it became one of my favorite mid-catalog records of theirs. Steven Wilson (you may know him now as the producer behind all those 5.1 remixes of classic albums getting released lately) and the rest of the band really found their niche with this record, easing back on the extended jamming and leaning towards more concise melodies. Highly recommended, whether you’re a prog fan or not.

Ben & Jason, Hello, released 9 April 1999. Ben Parker and Jason Hazeley were a UK duo that wrote and sang absolutely gorgeous indie folk but avoided the sometimes saccharine twee of most other bands in that genre. They only put out three records and a handful of singles but they were one of my all-time favorite finds at the time. Definitely worth searching for if you can find them.

Electronic, Twisted Tenderness, released 17 April 1999. The third and last album from Bernard Sumner and Johnny Marr’s side project, this is a fantastic album and in my opinion the best and tightest of them. It got a delayed and ignored release here in the States, which is too bad, because there are some really strong singles on this one. And quite possibly my all-time favorite version of Blind Faith’s “Can’t Find My Way Home”, featuring some of the best Marr guitar work I’ve ever heard.

Ultrasound, Everything Picture, release 17 April 1999. Another import find that quickly became one of my favorite records at the time. It might be a bloated overlong mess but it’s a hell of a lot of Britpop/psych-rock fun and I still give it a spin every now and again.

Lamb, Fear of Fours, released 17 May 1999. Lamb is a fascinating electronic band in that they’re more about exploring and experimenting with soundscapes than they are about being played in a club, and I’ve always loved their records. This one’s fascinating in that it’s an experiment in unconventional time signatures, with very few tracks actually being in 4/4 time. (Track 4 is even untitled, and features nothing except a seven-second single bleating synth sound.)

Moby, Play, released 17 May 1999. Say what you will about his bouts of sort-of-creepy weirdness in his latest memoir, Play remains an excellent record and worthy of its accolades. It’s clever, inventive, and a wonderful listen.

Travis, The Man Who, released 24 May 1999. This record broke them in the States (where it was released a few months later). It’s less noisy than their debut record but it’s a lot more introspective, and truly shows just how great they are as songwriters. Every single track on this record is wonderful, even the hidden tracks! [This is the record they were touring on when I met the foursome after a show in Boston; they were all lovely people and I’m glad they made it as big as they did.]

Smash Mouth, Astro Lounge, released 8 June 1999. Yeah, I know, I could easily have used the “All Star” meme here, but I didn’t, because the rest of this album is actually pretty damn great! It’s a fun listen — it’s tighter and perhaps a bit poppier and more commercial, but that works to their advantage here.

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Coming up soon: Thirty Years On, in which I briefly talk about The Best Album Ever! 🙂

Recent Releases, Spring 2019

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.

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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…!

Favorite Albums: Duncan Sheik

Just before i started my job at HMV in late 1996, a new record popped up that hit the airwaves of both alternative rock and pop stations; even though it was primarily filtered down to Adult Alternative for its easy and melodic sound, the songwriting was so unexpectedly tight and adventurous that it got picked up everywhere. It was not the bombast of Collective Soul’s self-titled record, or the earnestness of Live’s Throwing Copper; it was simply a lovely album to listen to.

But that lightness is betrayed by darker, gloomier lyrics. James Hunter of Rolling Stone likened Sheik’s music to Talk Talk and The Smiths, perhaps for that reason: the musicianship is top notch from start to finish, the melodies are wonderfully creative but not overly complex, and the songs definitely get stuck in your head.

If you’ve only heard “Barely Breathing”, I suggest you check out the rest of the album — it’s definitely worth it.

Bonus Track: A year and a half later he popped up on the Great Expectations soundtrack from early 1998 with another fabulous track, “Wishful Thinking”, which got a lot of airplay at the time.

His later albums unfortunately did not get the attention they should have — partly due to changing tastes and partly due to the late 90s industry shake-ups — but they too are well worth looking for. He’s also kept busy since the mid-00s by writing and scoring music for multiple stage plays and musicals, his best known being Spring Awakening.

Twenty Years On: Spring 1999

I’d have to say 1999 was kind of a weird time for me, as it had some smashing highs and some really frustrating lows for me. While I still loved my record store job at HMV, things had changed there, and not necessarily for the better. The new manager and I often butted heads, and I also found my shifts often being pushed to weird hours to cover someone else’s plans. I’d gotten frustrated with the fact that my sci-fi novel (The Phoenix Effect) was getting no bites from publishers and its sequel was soon to be aborted when I instead chose to completely rewrite the whole damn thing.

Radio was also getting more frustrating to listen to, the more melodic sounds of 90s alt-rock getting replaced by what I’d call ‘meathead alt-metal’, with the drop-tuning and growling (and sometimes unfortunate white-boy-rapping) of Korn, Limp Bizkit and Marilyn Manson. I started listening to less radio and more of my own collection, which of course had already grown considerably in the last couple of years. On the plus side there, I’d discover a lot more imports and obscurities that became some of my favorite records of the time.

The Supernaturals, A Tune a Day, released 8 February 1999. I was pretty heavy into the imports at this time. I would read the British music mags religiously, checking out the news and reviews and following up accordingly, ordering a copy or two for the store. A lot of it was hit or miss, and most of the time I’d be ordering a copy simply for my own collection. The Supernaturals are one band that got some minor reviews in Mojo and elsewhere but kind of vanished soon after. I really dug the alternapop of this record, though.

Annie Christian, Twilight, released 8 February 1999. The same goes with Annie Christian…they were part of a newer British wave of guitar groups that wrote some really nifty tunes that unfortunately got ignored by pretty much everyone.

Tin Star, The Thrill Kisser, released 9 February 1999. Now THIS record is groovy and quirky as hell and more people need to know about it. The “Head” single got some minor airplay on the alt-rock stations, and every now and again I’m pleasantly surprised when it resurfaces. This record got a hell of a lot of play during my writing sessions. Well worth searching for and checking out.

Lit, A Place in the Sun, released 23 February 1999. These guys could easily be filed away in that same meathead alt-metal gang, considering their biggest hit is about being an alcoholic loser…but they do it in style with catchy riffs and fun tunes. Bonus points for providing a nude cameo of Blink-182 (following up their “What’s My Age Again” streak) in their video for “Zip-Lock”, another radio favorite.

Jimmy Eat World, Clarity, released 23 February 1999. Before the enormous success of 2001’s Bleed American, this band was a favorite of the emo crowd, and “Lucky Denver Mint” was a minor hit on a lot of alt-rock stations. Their early records are definitely worth checking out as well.

Badly Drawn Boy, It Came from the Ground EP, released 1 March 1999. This one remains one of my favorite import finds from the HMV years, and it’s one of BDB’s best songs, and really should have gotten a hell of a lot more attention than it did. I always play this one loud because it’s just that awesome.

3 Colours Red, Revolt, released 2 March 1999. Yet another fantastic alt-rock album criminally obscured by alt-metal radio and record distributor shenanigans of the day. “Beautiful Day” is a gorgeous tune that has the epic quality of Bends-era Radiohead. Had this come out a few years earlier or later, it may have been a much bigger hit.

Blur, 13, released 15 March 1999. Blur, on the other hand, was the Britpop band that survived the late 90s fallout of their scene by way of changing up their sound considerably. Their 1997 self-titled record introduced a much heavier and more experimental sound, while this record exposed their more emotional (and emotionally fraught) side.

Various Artists, The Matrix OST, released 30 March 1999. Say what you will about the trilogy, the first movie definitely changed the entire game of American science fiction movies by being fiercely original, relentlessly creative, refusing to rely on tired tropes, and introducing some of the best jaw-dropping special effects ever made up to that point. And it had one hell of a great soundtrack that just had to be played as loud as possible.

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The last year and a half of my HMV tenure may have been fraught with irritations and stress, but it also provided me with a ton of excellent music that would keep me busy and entertained. This was the peak era of my weekend road trips to comic stores, book stores and Boston, and it was also an extremely creative time for me as well, even if my current project was about to be completely restarted from scratch. My social life was nil, but that was the least of my worries, as I was doing exactly what I wanted to do, and I was actually getting paid enough to be able to afford it to some extent. I’d dug myself out of an extremely deep depressive funk, and despite managerial frustration, I refused to fall back into that trap again.

Thirty Years On: Spring 1989

Over the course of the last few months, I’ve been thinking of whether or not to follow up on this series. It’s hard to follow up on what I personally consider one of the best years for alternative rock in the 80s in terms of musicianship, quality, consistency and creativity. On a more personal note, it’s also hard to follow up having a positive and stellar year when nearly your entire circle of friends has left for greener college pastures. Regardless, I did my damnedest to remain as positive as I could; I still had the other friends in my year and younger.

In retrospect this makes me sound rather shallow, and I suppose it does in a way. My connection to the just-graduated gang had been a deep and close one that I hadn’t had previously, and I suppose their moving on affected me more than I’d expected. I suddenly found myself going from ‘part of the gang’ to flying solo (or almost solo), and it took me a long time to get used to that.

Regardless, I still had college radio and 120 Minutes to fall back on. Plus, I was on the final circuit towards the end of my high school career, and it was time for me to find myself and shine somehow.

The Darling Buds, Pop Said…, released January 1989. If there’s anything I noticed about 1989, is that it seemed to have a more pop sheen to it. Not in the ridiculous plastic way that permeated the mid-80s pop scene, but in a fun, free-for-all way. This was thanks to multiple scenes in the UK kicking off the party culture that soon became known as Britpop. The Buds, coming from South Wales, brought in a sparkly indie-pop sound that caught the ears of many a fan.

Love and Rockets, “Motorcycle”/”I Feel Speed” single, released 3 January 1989. Meanwhile, the trio once known for its dreamy psychedelic indie rock over the last four years suddenly changed pace and delivered a growling punch of raucous surf rock about singer Daniel Ash’s love of motorcycles. The b-side “I Feel Speed” is a gorgeous dreamlike interpretation of the song done almost entirely on David J’s bass.

Throwing Muses, Hunkpapa, released 23 January 1989. The last album featuring bassist Leslie Langston, this outing was much more pop-oriented than their previous records, providing a college radio favorite with “Dizzy”.

New Order, Technique, released 30 January 1989. While not as brilliant as Low Life or Brotherhood, it’s nonetheless a solid album featuring some of their best hybrid sound of synth and guitar. It’s also quite melodic compared to some of their earlier records.

Morrissey, “The Last of the Famous International Playboys” single, released 31 January 1989. An absurd yet catchy ode to the Reggie and Ronnie Kray, London’s most famous (and infamous) mobsters of current history. It was the first of numerous non-album songs Morrissey would drop over the course of the next decade. Also a song and video that surprised many: it features three other ex-Smiths (Andy Rourke on bass, Mike Joyce on drums, and tour guitarist Craig Gannon), briefly firing up rumors of a sort-of Smiths reunion.

The Replacements, Don’t Tell a Soul, released 7 February 1989. Paul Westerberg and Co followed up 1987’s fantastic Pleased to Meet Me with an album that sounds like maybe they sobered up a titch and started writing more solidly and melodically. They’re older and perhaps a bit wiser at this point.

Fine Young Cannibals, The Raw and the Cooked, released 20 February 1989. The trio’s second (and so far final) album was a big hit across the board, both on pop and modern rock charts, thanks to its lead-off single “She Drives Me Crazy”. It also had quite a memorable video (choreographed and directed by Phillippe DecouflĂ©, whose only other music video was the equally memorable “True Faith” for New Order).

XTC, Oranges and Lemons, released 27 February 1989. Perhaps partly inspired by their side project The Dukes of Stratosphear, whose records were a straight-up 60s psychedelic rock pastiche, this record blended those psych tendencies with lovely pastoral sounds and catchy pop tunes.

Indigo Girls, Indigo Girls, released 28 February 1989. Their second album (and first for a major label) was a stellar folk-rock record that gained them a huge following, and major airplay on both college and commercial stations with their hit “Closer to Fine.” It’s an amazing album from start to finish and a must for anyone’s collection.

Robyn Hitchcock, Queen Elvis, released March 1989. His follow-up to the fan favorite Globe of Frogs — and named after one of his songs that would appear on 1990’s solo record Eye — is full of beautiful and introspective songs, yet still peppered with his trademark eclectic wit. It’s my personal favorite of his 80s output.

De La Soul, Three Feet High and Rising, released 3 March 1989. Goofy, fun, and relentlessly creative, it’s a blast to listen to with its positivity and humor. Thirty years later and they’re still going strong with new records and high-profile appearances, including Gorillaz’s ace track “Feel Good Inc.”

Depeche Mode, 101, released 11 March 1989. Their first live album is a two-record sprawl of their biggest recorded at the Pasadena Rose Bowl (the 101st and last show on a their Music for the Masses Tour with Erasure and Wire). While the songs may not be all that different from their studio versions, they deliver a great show nonetheless.

The Stone Roses, The Stone Roses, released 13 March 1989. Meanwhile, the long-simmering sound of Manchester — brought to the fore previously by The Smiths and New Order, among numerous others — finally exploded internationally with a guitar-heavy rock dance beat that blew everyone away and inspired and influenced so many others for years to come and laid the ground for the classic 90s Britpop sound.

Sigue Sigue Sputnik, Dress for Excess, released 31 March 1989 (US). Okay, so perhaps this record didn’t inspire or influence anyone at all, but it’s still a fun album. It’s not as blissfully chaotic as 1986’s Flaunt It, but in the process they sound so much more professional, perhaps a bit more serious as a band. Lead single “Success” was a deliberate plan in that direction, hiring hit UK producers Stock Aitken Waterman to make their sound as slick as possible. Bonus points for writing and recording an absolutely gorgeous album closer in the form of the dystopian ballad “Is This the Future?”, still one of my all-time favorite tracks of theirs.

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More to come soon!

Walk in Silence Returns…

…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.

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…so yeah, it’s good to be back here on the internets. See you next Monday!