Despite there being a bit of a shake-up at the Day Job that would soon cause a ripple effect of other frustrations coming to the surface, I somehow found myself finally getting a little more focused on my writing work and the music I wanted to listen to. We were also both still getting used to living at our new home, yet eager to start making it our own. It’s still a work in progress, but it’s getting there.

Nilufer Yanya, Dancing Shoes EP, released 2 July. She keeps coming out with bangers, even if it’s just a tiny four-track mini-album! This one got a lot of play on KEXP during the summer.

Dropkick Murphys, For the People, released 4 July. You can always count on this band to not just be the Most Boston Band Ever, but to be so incredibly outspoken yet still surprisingly erudite, even despite their more ridiculous moments. They have a few things to say about the current administration, and they’re not afraid to let you know about it.

The Reds, Pinks & Purples, The Past Is a Garden I Never Fed, released 4 July. Glenn Donaldson continues pumping out more and more music, and this time it’s a collection of tunes that previously only showed up as vinyl-only tracks or rare singles. And as far as I know, he’s still based in my neighborhood!

311, 311 (30th Anniversary Edition), released 11 July. The album that broke them into the mainstream in the mid-nineties gets a wonderful expanded remastered reissue, sounding bigger and heavier than before. This one got a ton of play during my HMV and Belfry years, and it remains one of my favorite albums of that decade.

Hammock, Nevertheless, released 11 July. I can never quite figure out if I should label this band as rock or electronic, as they seem to glide between the two depending on what album of theirs you listen to. This one’s a quiet and enjoyable instrumental record that works perfectly as a writing session soundtrack.

Coral Grief, Air Between Us, released 18 July. This band just kind of popped up on KEXP’s airwaves one morning and caught my attention with its moody jangle pop I love so much. It’s a wonderful record and worth checking out.

Bush, I Beat Loneliness, released 18 July. I’ve pretty much been a fan of this band since its Sixteen Stone days, and while they’re no longer churning out radio hits, they’re still consistently writing great albums that are fun to listen to.

JR Richards, My Darkest Hour, released 21 July. Speaking of the 90s, the former lead singer of Dishwalla returns with an all new album that was crowd-sourced over the course of a year. He’s one of my favorites.

The Verve Pipe, Reconciled, released 25 July. Speaking of the 90s (again)… I’m glad that this band is still around making records and touring here and there. This is yet another excellent record from them. I suggest following Brian Vander Ark on social media as he’s quite hilarious.

Alison Goldfrapp, Flux, released 15 August. Her second solo album may seem a bit more dance-oriented than her previous work (and definitely less dance-rock than her output in the band named after her), but it’s still quite enjoyable.

Oasis, Complete Studio Album Collection, released 22 August. Released to tie in with their high-profile reunion and tour, this is a great way to revisit their back catalogue and remember just how good they actually were.

The Hives, The Hives Forever Forever The Hives, released 29 August. You can always depend on this band to put on a grand show, whether it’s a chaotic and hilarious live performance or an in-their-own-weird-universe videos, and they always go above and beyond with each album. This one is full of energy and fearlessness. One of my favorites of the year!

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More to come…

After a slow first quarter, I started picking up on more music that appealed to me. Much of it came from my almost-daily listening to KEXP, of course, but there were also several reissues and best-ofs that started showing up. And as always, many of these albums ended up as writing session soundtracks.

Suzzallo, The Quiet Year, released 2 May. Rocky Votolato was known in the PNW area as a member of the punk band Waxwing but also solo records and showing up on various friends’ albums, but after a personal tragedy he chose to start a new project. There’s a distinct Radiohead feel to his music here, full of tension and discomfort but retaining a deep sense of melody and mood.

Preoccupations, Ill at ease, released 9 May. This is a band I know I like and yet don’t listen to nearly as much as I should. They lean heavily on the 80s’-era post-punk like The Chamelons and Comsat Angels with a bit of dreamlike Cocteau Twins moodiness thrown in. A surprisingly strong and enjoyable record.

Peter Murphy, Silver Shade, released 9 May. This album snuck up on me, and I’m glad I saw it when I did, because I feel like this is Murphy’s strongest album in recent years. Past solo records were good yet very experimental and meandering, whereas this one feels like he’d return to his earlier sound of Love Hysteria and Deep, both albums I’d played incessantly back in the day.

Mark Pritchard & Thom Yorke, Tall Tales, released 9 May. One half of Global Communication and the leader of Radiohead? Of course I’d gravitate to it! Strange and peculiar and yet still lovely to listen to.

Sparks, MAD!, released 23 May. You can always count on the Brothers Mael to deliver yet another album of oddball-yet-catchy pop music that gets stuck in your head. Good to know that this band is still going after all these years.

Orbital, Orbital 2 (The Brown Album Expanded), released 23 May. I’d been a passive fan of this band since the early 90s, having heard “Halcyon” on WFNX every now and again (and later with their brilliant single “The Box”). Their recent reissue program has only made me want to catch up on more of their music, reminding me just how electronic music used to sound in the 90s — it might have always been danceable, but there was much more of an element of otherworldliness to it, like you were listening to something alien and futuristic.

Sea Lemon, Diving for a Prize, released 30 May. An interesting album of quiet dreampop that takes you on a hazy trip. This one also features the great single “Crystal” that features Ben Gibbard from Death Cab for Cutie.

Garbage, Let All That We Imagine Be the Light, released 30 May. Each album from this band always seems to go in an unexpected direction, and this one provides an element of anger and annoyance that had always been somewhat muted on their previous records. It never takes away from the music, however, it only makes it that much more intriguing.

Pulp, More, released 6 June. Their first new work since…2001?? It’s been quite a long time, but it’s been well worth the wait. Jarvis and Co. pick up right where they left off, channeling the peculiar Britishness of Different Class (which got a great reissue this year as well) and expanding from there.

Blushing, Blushing reissue, released 13 June. I’m still not sure how I managed to skip this dreampop band from Austin until this reissue popped up on my radar. The album is full of all my favorite things: soaring guitars, quiet/LOUD song structures, wandering melodies, and walls of reverb. I ended up downloading the rest of their discography from Bandcamp soon after!

Steve Queralt, Swallow, released 13 June. A third member of Ride finally shows up with his own solo album, this one going in very interesting and unexpected directions with its sonic experimentation. Lush’s Emma Anderson shows up on a few tracks as well, adding to the mystique. Another favorite during my writing sessions.

HAIM, I quit, released 20 June. It’s always interesting when a band like this one, known for its radio-friendliness (I still hear “The Wire” on the radio and elsewhere), decides to further their career by bravely heading in more experimental directions. While this one doesn’t seem to contain that kind of chart hit, it’s just as catchy and fascinating.

GoGo Penguin, Necessary Fictions, released 20 June. One of my favorite finds of the last decade comes out with yet another electronic-tinged jazz album that’s perfect for my writing sessions. As always, I highly recommend checking them out.

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More to come…

Spring 2025 was a bit of an odd season for me musically, as there were quite a few albums I was interested in hearing but only maybe a few I ended up truly enjoying. It’s not that the albums were bad, just that I never quite resonated with them for one reason or another. Still, I did find a few that I latched onto…

Bob Mould, Here We Go Crazy, released 7 March. I can always depend on Mould to come out with a well-written and contemplative album, no matter whether he’s in a loud or a soft mood.

Throwing Muses, Moonlight Concessions, released 14 March. I’ve been a fan for decades and I’m happy to see that Kristin Hersh is still going strong with her intelligent and quirky music.

Steven Wilson, The Overview, released 14 March. After a few electronic-based albums, Wilson returns to his original prog sound with an intriguing concept album about viewing Earth from space. I can always rely on his music for a good writing soundtrack!

Lucy Dacus, Forever Is a Feeling, released 28 March. Her new album is much more laid back and contemplative, but just as creative and lovely.

SPELLLING, Portrait of My Heart, released 28 March. This Oakland musician has been a local favorite for quite some time with her experimental hybrid sounds.

Miki Berenyi Trio, Tripla, released 4 April. The former Lush frontwoman finally releases her own solo debut and it was definitely worth the wait. It’s a wonderful dreampop album that expands on her former band’s style with a heavier and stronger sound.

OK Go, And the Adjacent Possible, released 11 April. While several of their previous albums had poppier and more radio-friendly songs alongside their always-captivating videos, this album feels a bit more experimental, but it works perfectly.

Tunde Adebimpe, Thee Black Boltz, released 18 April. The TV On the Radio lead singer’s full-length solo debut was a long time in coming (apparently he’s been doing voice acting all this time?) and it’s well worth the wait.

SAULT, 10, released 19 April. I’ve been fascinated by this curiously semi-anonymous band ever since KEXP introduced me to them, and each release is always captivating.

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More to come…