The Strokes – The New Abnormal
A strangely prescient title for these crazy times, and the New Yorkers are back with their first album for seven years, Julian Casablancas and co regain some of the spirit and aggression that catapulted them to post-punk critical reverence almost 20 years ago, or at least an improvement on their underwhelming work on 2011’s Angles and 2013’s Comedown Machine. It's more experimental too, with The Adults Are Talking mixing pizzicato guitar, a cymbal hiss and more, with Brooklyn Bridge to Chorus and Eternal Summer being more poppy, echoing something that Metronomy might do. There is something more energetic, and trimmed down to fighting weight than the previous two albums, and that might also be thanks to producer Rick Rubin over these nine songs, which includes the self-effacing Bad Decisions, something of knowing rewrite of Billy Idol’s 1981 hit Dancing With Myself. Out on Cult Records/Columbia.
The Strokes – Bad Decisions
Laura Marling – Song For Our Daughter
Brought forward from the planned August date due to current circumstances, the popular folk singer-songwriter's seventh LP is based around the idea of advising an imaginary daughter (unless there’s some private news) on how to equip herself as a woman for society, and offering her “all the confidences and affirmations I found so difficult to provide myself”. The tone is at times almost angry, as if Marling is not addressing a child, but dressing down her younger self, such as the country-ish Dylan-twang Strange Girl ("Oh girl, please – don’t bullshit me."). But this is melodious, beautiful work at times, whether vua acoustic guitar or piano-led, rich string arrangements or polished production, inspired by Joni Mitchell of course, and 70s Paul McCartney solo era, from For You, to Blow by Blow to Held Down and The End of the Affair. The album also comes with a short, melancholy preview video, set in a country idyll. A reflective, emotional, mental spring clean of an album. Out on Partisan/Chrysalis.
Laura Marling – Strange Girl
Jackie Lynn – Jacqueline
Second album by Circuit Des Yeux’s Haley Fohr as the name Jackie Lynne is a wonderful mixture of the dark and dancey. From Casino Queen's glittery disco to Shugar Water's stompy pop, her deep voice is beguiling, particularly on the ethereal, slow crooning of Dream Street, a lovely sort of country yodelling with classical backing. This is eccentric, humorous, clever stuff, fresh, original, mischievous and entertaining. She also appears in various videos in masks, from before the full Covid outbreak, so that also shows some foresight. Out on Drag City.
Jackie Lynn - Casino Queen
Pokey LaFarge – Rock Bottom Rhapsody
Another eclectic musical artist, LaFarge, who hails from St Louis, Missouri moved to Los Angeles for fresh ideas in 2018. It certainly has borne fruit, as he mixes a wide variety of styles and traditions, New Orleans stomp piano blues with French jazz, country, Bob Dylan and Roy Orbison. There's black humour throughout, from the country rock of End Of My Rope, to the slower piano jazz-blues of the love song Lucky Sometimes with that distinctive warble. Fabulous. Out on New West Records.
Pokey LaFarge.– Fuck Me Up
Flat Worms – Antarctica
The third Flat Worms album in the past four years, part of the relentless energy around the California rock scene inspired by the likes of Ty Segall and John Dwyer, the trio return with powerful postpunk right from the off with The Aughts. The title track is a slower number that has a fewer psych guitar shimmers that sound like helicopter blades, and throughout the trio of singer guitarist Will Ivy (Dream Boys, Wet Illustrated, Bridez), drummer Justin Sullivan (Kevin Morby, The Babies) and bassist Tim Hellman (Thee Oh Sees, Ty Segall, Sic Alps) are unstoppably solid throughout, and alongside the serious social and eco commentary there's just something fantastically no-nonsense dry-as-a-bone humour about them, as these lyrics illustrate: “My dog is smiling as I drive her to the park / we sit together in the kitchen after dark / I ask her questions / She just barks.” Out on God? /Drag City.
Flat Worms – The Aughts
Margaret Glaspy – Devotion
After 2016's catchy folk-blues-rock-pop Emotions & Math, and the more stripped back 2018 EP Born Yesterday, the Brooklyn singer-songwriter has turned towards electronica, and a broader scope of sounds and instruments, and on her eco-meltdown single Killing What Keeps Us Alive, there's vocoder distortion in between the purity of her straighter singing. It's a brave, experimental move for someone or naturally has a beautiful voice and a big range who has made a mark in the acoustic scene, but is this the new Glaspy, or just an experiment, or a search for identity? You Amaze Me is more like her older material, but that is an exception. What’s the Point has dubstep synth, and the title track is more R&B soul. Perhaps those missing her guitar can listen to her lovely acoustic sessions from home during Covid-19. Out on PIAS/ATO.
Margaret Glaspy - Killing What Keeps Us Alive
Irma Vep – Embarrassed Landscape
Wonderful rich, layered guitar work runs throughout on this new postpunk-cum-psych-rock album by the band formed around Manchester-based Welshman Edwin Stevens. From the heavier The Feeling Is Gone to the more wistful Standards, there’s a dark humour here too. King Kong is given an extra layer with violin and has true driving force, while Tears Are the Sweetest Sauce is ventures into melancholy country territory. A serious of pithy titles, such as Purring, Disaster, Not Even, and Canary and the wonderfully guitar-melodic I Do What I Want decorate an album of consistent high quality. Out on Gringo Records.
Irma Vep - The Feeling Is Gone
Hailu Mergia – Yene Mircha
The Ethiopian multi-instrumentalist, who began as organ and synth player for 70s jazz-funk outfit Walias Band and then went to Washington, releases his second album in the last two years, now on a roll after a previous longer period in obscurity. It's a heady mix of African, jazz and funk, with shuffly opener opener Semen Ena Debub artfully pairs a one-string lute, the masenqo, with Mergia’s accordion, followed by more trad jazz guitar on the upbeat title track, followed by reggae leaning on Bayne Ley Yihedal. It's as if he's trawling through all the styles of his career, but with verve, clever rhythm and energy. Out on Awesome Tapes From Africa.
Hailu Mergia — Abichu Nega Nega
Denzel Curry x Kenny Beats – UNLOCKED
A short and sweet punchy release of 23 minutes of hip hop, Unlocked is the product of a manic three-day collaborative studio session following Denzel recording for an episode of Kenny's YouTube show, The Cave. With Beats producing, this project finds the two joyously mining sounds outside of what prompted their respective progression. While Denzel pulls influence from various members of The Wu-Tang Clan, Kenny taps into a sound inspired by the holy trinity of Madlib, Dilla and MF Doom. Cartoonish, comedy and entertaining. Out on Loma Vista.
Denzel Curry x Kenny Beats - UNLOCKED
DJ Python – Mas Amable
Highly absorbing electronica by the so-called “deep reggaeton” pioneer Brian Piñeyro is a non-stop mix LP, with stuttering beats and lots of tiny bits to savour as it builds with techno touches, scratches, fades and delicate sounds. Lead single ADMSDP is in there, but it's all about taking in the full effect. Out on Incensio.
DJ Python – Mas Amable
This week's selection is by The Landlord.
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