The Hold Steady
Thrashing Thru The Passion
Frenchkiss
2019
Rating: 8 washable mouths out of 10
After a five year break the Hold Steady return with their eighth album, “Thrashing Thru The Passion,” though to hear it you’d never think they missed a single day apart. Then again, during that break singer Craig Finn released a few solo albums, and as most people would likely point to Finn’s voice as the most defining element of the band, you’ll be forgiven if you didn’t even know this break happened. Let’s not beat around the bush – all Hold Steady records sound basically the same, it’s just a matter of how enjoyable the particular set of songs are that make up any given release. To quote Larry David, “Thrashing Thru The Passion” is “pretty, pretty, pretty good.” They kick off on a very strong note with “Denver Haircut,” and seldom let up from there (“T-Shirt Tux” being the only song I’m not crazy about). “Traditional Village” is also a standout, and I’d probably immediately place “Entitlement Crew” as one of the band’s all-time best tracks. This is big, straight-forward rock music, noteworthy only in the fact that’s well made and stands up to repeated listens. Hell, I’ve been listening to it for four months before finally getting around to writing this short blurb. As always, a Hold Steady record is instantly recognizable even on the first listen, and sometimes that’s all you need.
Ex-Vöid
Only One 7''
Prefect
2019
Rating: 8 sitcom lesbians out of 10
This band being named Ex-Vöid, complete with an extraneous umlaut, plus the cover art on this seven inch…there’s no way this isn’t a punk or hardcore band, right? Or… maybe not, as the title track is about as twee a you can get. It gives off a great Camera Obscura-meets-Best Coast vibe, with harmonized male and female vocals throughout, all backed by some very Teenage Fanclub-esque guitar work. The song is an instant ear worm you’re likely play over and over and over if you love this style of music like I do. If I get around to making a list of my favorite songs of 2019, which to be honest I rarely remember to do, this would definitely be on it, and very high in the countdown. But then! The b side, one of those rare, delightful occurrences where a band names a song after themselves, is a distorted punk scorcher less than a minute long. A fine track, though nothing to get worked up for, and not even in the same universe as “Only One” in style or quality.
So now I’m confused. And curious, very very curious at where Ex-Vöid goes next. I’m damn near tempted to give this a perfect score for the title track alone, I can’t recommend it any more highly.
Wilco
Ode To Joy
dBpm
2019
Rating: 7.5 sparkly sandwiches out of 10
I was going to be a snarky dickhead and make the entire review of “Ode To Joy” something like “Wilco releases new record: sounds exactly like a Wilco record.” Then I got super lazy about actually writing the review, which led me to listening to the album more and more over the last couple of months, and now I’m hearing a lot more nuance than had occurred to me on my earlier impressions. It’s almost like you can have a much more thorough take on a piece of art the more you spend time with it. Obviously, that’s not going to actually stop me from making snap judgements in the future, because life is short, there is way too much music to keep up with, and as a well-documented shitty writer, a crap take on things is my raison d'être. Sometimes though, patience is rewarded, assuming you have some to spare.
My overall impression is that “Ode To Joy” is a much mellower album than their more recent releases…it actually sounds much more akin to Jeff Tweedy’s recent solo record “Warmer” than a typical post-Jay Bennett Wilco release – lots of acoustic guitar, most songs are slow-to-mid tempo, and (thank god) way less Nels Cline guitar wankery. Cline is incredibly gifted, sure, but it almost never does anything for me and often feels tacked onto the music as an afterthought. “Everyone Hides” is the obvious stand-out track, and the closest you’re going to get to a straight-forward Wilco-esque jangly pop song on this release. Given that, it’s not that surprising it’s also the lead single with a fancy video. “Love Is Everywhere (Beware)” is also a strong offering, with a nice cinematic quality – and the rare instance where Cline’s noodling actually accentuates the track.
“Ode To Joy” is a good record, and one worth exploring even for jaded old fans pining for the “Summerteeth” days. It’s probably my favorite since 2009’s ridiculously titled “Wilco (The Album),” for those keeping score at home.
Belle And Sebastian
Days Of The Bagnold Summer
Matador
2019
Rating: 7.5 long-haired gravity bongs out of 10
Is a movie soundtrack also considered a new album if only one band is responsible for every song on the soundtrack, as is the case here with “Days Of The Bagnold Summer” by Belle And Sebastian? I think most would say yes, assuming the plurality of the material is of the “typical song” variety. But what if that material is a mix of new and old songs, does it still count as a proper release? Well, now we’re getting into murkier water, but as the lone judge in this particular collection of word vomit, I’m going to narrowly rule in favor of this counting as a proper release. Also, not one bit of this fucking matters, but at the same time this is the sort of shit that I will ruminate on for hours on end. My brain might be broken. Twenty five years into my fandom and I’m still not sure if it’s Belle “And” Sebastian or Belle “&” Sebastian, and for some reason this matters.
And before you waste the same amount of time I have trying to sort out what the hell “Bagnold” means, apparently it’s the last name of a famous English playwright (Enid Bagnold), and knowing that has gotten me no closer to the definition. I suppose you’ll have to watch the movie, which I’m sure I will eventually. For now I’m just going to assume it means “stodgy & verbose,” since that’s the first thing I think of when an English playwright comes to mind. The movie is based on a graphic novel of the same name, and seemingly has no connection to ol’ Enid. The world is a confusing place sometimes.
Rambling aside, let’s say at least a couple of things about the actual music…if you’re a fan of B&S you’re already aware of “I Know Where The Summer Goes,” and you sure as shit know one of their most famous songs of all time, “Get Me Away From Here I’m Dying” – the versions of these two tracks are slightly different here, new recordings and all that, but basically the same. Of the other tracks, the one that really stood out on the first few listens was “Safety Valve” – my initial reaction was it sounded A LOT like it would fit right in with the very early B&S records. Turns out, according to band leader Stuart Murdoch, it’s actually one of the oldest songs the band ever wrote and recorded, but I guess it just never found its way to a proper release. The instrumental track “Jill Pole” reminds me heavily of John Barry’s “Midnight Cowboy” theme song (excellently covered by Faith No More in my high school years, which is why I know the song so damn well). The two tracks aren’t exactly the same, but they sound like they could be siblings. Plus there’s “Sister Buddha,” which feels like an old song because they’ve been playing it live for a while, but apparently this is the first official recording of it.
“Days Of The Bagnold Summer” is a good record. It doesn’t quite feel like a regular album, nor does it feel like a soundtrack either. It also feels both new and old at the same time, for obvious reasons. This is a no-brainer for long time fans, but also stands on its own for any lost soul that might find the group via this route.
Idles
Mercedes Marxist 7''
Partisan
2019
Rating: 8 dead dizzy flies out of 10
Is there a more hot shit band than Idles right now? The music is good, the lyrical content is “woke as fuck” which I think is what the kids want, and the live shows are bonkers. It’s still kinda shocking I was able to see them in tiny ass Kings at the same time they were selling out 8-10,000 seat venues in the UK in minutes. The two songs here, the title tracks and the b-side “I Dream Guillotine,” are unreleased recordings from the same sessions that produced the excellent “Joy As An Act Of Resistance.” Both of these are fantastic, and it’s a shame most folks might miss out on them if they aren’t aware of this release. Or maybe in the world of all streaming/digital consumption, this is no longer an issue. I get that not every song can make the final cut for a number of different reasons, but “I Dream Guillotine” would surely be one of the favorites from the album had it been there. But it’s not. But it should be. But it’s not.
Gino And The Goons
Rip It Up
Slovenly
2019
Rating: 8.5 popped knuckles out of 10
On first listen this Gino And The Goons record breezed right past my ears. Normally, given the sheer volume of new music out these days, that would mean “Rip It Up” would have promptly gotten filed away and forgotten about. A few days later though, I was out walking around at lunch time searching for a way to quench my angry stomach and decided to give it a second listen…maybe it was accentuated by my hunger, but goddamn did this sound perfect to me at that moment. It served as a nice reminder, at least to myself, that some things don’t hit right away…sometimes a change in the listening experience will change the way you receive the tunes. Sure, your first instinct that an album isn’t worth your energy is correct 99% of the time, but every once in a while something great slips through the cracks, and I’m glad I caught this one before it was too late.
ANYWAYS – as for the actual band and music itself, Gino And The Goons are from Florida. This has now brought the list of good things about this ridiculous state up to five – Tom Petty, the Everglades, manatees, and the abundance of Cuban pork being the other four. I think this band & album would get lumped under the umbrella of “garage punk,” but more specifically it sounds like the best possible combination of the Stooges & the Heartbreakers, with a singer that sometimes reminds me of the New York Doll’s David Johansen in his delivery. The music is distorted and catchy and everything you could possibly want from an album in this genre. I’ve listened to this so many damn times now it’s hard to imagine how this didn’t get under my skin from the very first listen – opener “Watch You Shine” is a stomper that gets instantly stuck in your head, and it never lets up from there. If this is a style of music that speaks to you at all, I would be shocked if “Rip It Up” doesn’t become a fast favorite.
(Note: this record was actually self-released by the band last year, but since Slovenly just re-released it and it’s new to me I’m counting it as a 2019 release, goddammit.)
Purple Mountains
Purple Mountains
Drag City
2019
Rating: Sadness.
I had been struggling with what I might write about the excellent self-titled Purple Mountains album that came out this past summer for a little while…and then David Berman committed suicide and now I don’t really want to write anything. I’m mostly just sad about it all, and maybe a touch angry at the world, and subsequently it has made this a tough record to listen to these days. Let it be known it’s very, very good though, very Berman in all the right ways, but to quote the youth – “I just can’t right now.” I need some time to pass before I can revisit this one. Hug your family and friends, life is short. Get help if you need it, please. Maybe once the sadness passes, listen to all things David Berman, because the man was really damn good at this…I just wish that had been enough to slake his demons.
Ex Hex
It’s Real (digital single)
Merge
2019
Rating: 8 tongue mothers out of 10
“On The Mouth” is one of the all-time best Superchunk songs. Curiously, it was not actually included on their album “On The Mouth,” but rather was a b-side to the “Mower” single. This always seemed like a strange choice to me…such a fantastic, up tempo jam, and one that is still a staple of their live shows. Given their years of success it’s hard to argue with the decisions of Mac, Laura, and company, but this one always seemed like a strange oversight.
None of that really has anything to do with my thoughts on this Ex Hex single “It’s Real,” other than the similarity in that this song is also not part of the record that shares it’s same name. And my also finding it very curious. It’s a very good song also, maybe not one of their very best as was the case with “On The Mouth,” but it certainly would have fit in fine on the full length “It’s Real.” Also, it’s kind of confusing, because now when I refer to “It’s real” you have to note if you’re talking about the album or the single. THESE ARE SERIOUS LIFE PROBLEMS PEOPLE.
Oh yeah, the b-side of this single is a great Slant 6 cover, “What Kind Of Monster Are You?” If you don’t know Slant 6 you would totally believe this was an Ex Hex song, it sounds like something they would have written. Note to self: listen to more Slant 6.
Hopefully these two tracks make their way to wax at some point – I’d gladly buy the seven inch of this. Until then, you can grab it from their Bandcamp here.
King Gizzard & The Lizard Wizard
Infest The Rats’ Nest
Flightless
2019
Rating: 9.5 nervous tables out of 10
There’s an overused idiom “If you don’t like the weather in [insert town/state/country name here], just wait ten minutes!” that every single person seems to think applies to whatever podunk town in which they grew up. However, the alternate version that says “If you don’t like the newest King Gizzard & The Lizard Wizard album, just wait ten minutes!” is incredibly truthful. The Giz release a lot of records, but unlike others of this ilk (I’m looking at you, Robert Pollard and Will Oldham) whose output is pretty stylistically similar, these Aussies put out entire albums that are all over the map. The last one I really loved was 2017’s “Murder Of The Universe,” a heavy, prog-laden rock opera about wizards or some nonsensical Flaming Lips-esque shit. Four rather forgettable records later, they have now gifted us with “Infest The Rats’ Nest,” possibly their best work ever depending on who you ask (if you ask me, the answer is yes). If you predicted this album would mostly be an homage to eighties-style thrash metal, you should be playing the lottery or the ponies. My best guess is they have a “Wheel of Fortune”-type wheel with all music genres listed on it, and then the band records an album of whatever style is randomly chosen. King Gizzard kick it off with the Metallica-like “Planet B,” later venture into Exodus territory with my personal favorite “Organ Farmer,” go a little bit more retro with the Black Sabbathy “Superbug” and Motorhead tribute “Venusian 2,”and last but not least enter the realm of Slayer with “Self-Immolate.” The nine song album is 35 minutes long, and I’ve listened to it from start to finish more times than I can count at this point – it’s akin to listening to a great metal mixtape, it just happens to be all from the same band. There’s no way this should work as well as it does from a bunch of Australian hipsters, but there is no hint of irony here – at least for this album, King Gizzard have genuinely become a metal band, and fuck me if “Infest The Rats’ Nest” isn’t the best heavy record of the year so far (my metal friends will definitely give me shit for this opinion, because no one applies more purity tests to their music than a goddamn metalhead).
Baroness
Gold & Grey
Abraxan Hymns
2019
Rating: 9 round wheels of cheese out of 10
In no way do I mean this as snarky, but most folks even consider Baroness a metal band anymore? Your estimation on what the band "is" might considerably color your feelings on the music they're currently releasing. They’re certainly still heavy live, but as a recorded release ”Gold & Grey” has more...uh, let's call it "dark folk" tracks than rockers, and the rockers that are there should be classified as proggy hard rock at best. Mind you, despite any quibbles over classification, this record fucking rules - the scope of the thing is epic. Front man (and only original member) John Baizley has damn near found the exact formula for blending heavy songs with pop sensibilities; more importantly, perhaps his greatest gift is finding quality individuals to replace departed band members. Sebastian Thomson has been with the group for a few years now, but I’m still going to mention him every time because it still blows my mind Baroness shares a drummer with Trans Am. And the most recent acquisition, Gina Gleason, should be an even bigger head scratcher as the bulk of her experience is from performing with Cirque du Soleil...that is until you see her live, where she proves herself to be one of the most impressive people I’ve ever seen play guitar in my entire life. Her skill and backing vocals add an extra layer the band has never had before. Baroness really show off their technical chops on tracks such as “Throw Me An Anchor” and “Seasons,” a couple of personal favorites. On first listen the plethora of "slow" songs might seem out of place on a record from this band, but it’s likely this duality that really makes the more upbeat numbers stand out so much. Baroness are truly post metal – not in terms of the "post metal" genre within the larger metal world, but rather that they have transcended the metal genre entirely and are now in their own world. No one else sounds like this – and if they tried, my guess is they would fail spectacularly.
Fruit Bats
Gold Past Life
Merge
2019
Rating: 7.5 face sprinklers out of 10
I’ve been in on the Fruit Bats for a long time, from their second album “Mouthfuls” until now, and I thought I had a pretty good handle on what to expect when Eric Johnson goes into the recording studio – he’s a man who has a great ear for catchy folk-pop with a heavy seventies AOR vibe. And that description would still fit much of “Gold Past Life,” their newest release. But what I wasn’t prepared for was the title track, which sounds as if the folk Era Bee Gees were covering the disco era Bee Gees. Fruit Bats have definitely had upbeat songs before, but not one that is quite so…dancey? I don’t think that’s a word, but the point conveys. If it were still the nineties this song would definitely get released as a single with dance mix versions on the b-side. There are a few other songs that are a little more upbeat than typical Fruit Bats material, and the album as a whole is really terrific, but man…the falsetto that Johnson breaks out for the track “Gold Past Life” is the earworm of all earworms this year, and even though it’s only one-eleventh of the release, it dominates my thinking about the whole damn thing. I guess if you’re going to have one song stand out so dramatically, it’s a good thing it’s damn enjoyable.
Pelican
Nighttime Stories
Southern Lord
2019
Rating: 8 corporate trend reports out of 10
This "review" is more a note of me saying that (a) Pelican have a new record out called "Nighttime Stories" and (b) it's really good. For the uninitiated, Pelican are an instrumental metal band from Chicago that occasionally include prog, sludge, and post-rock tendencies into their sound. They've released at least a half dozen consistently great records in their 15+ year career, and I'm not entirely sure what words I can throw out there to spice up what they are - you either like this type of music or you don't. Pelican are one of the godheads of the genre, and "Nighttime Stories" is a damn fine continuation of their legacy. I'm particularly a fan of the second track "Midnight and Mescaline," but the whole damn record is in top form.
Superchunk
AF (Acoustic Foolish)
Merge
1994 / 2019
Rating: Subdued perfection.
Superchunk are easily one of my top three favorite bands of all time. “Foolish,” their fourth record released in 1994, is easily one of my top three favorite albums by Superchunk. You want to make an educated guess on how I feel about a reworked, fully acoustic version of this classic album?
Given the nature of “AF,” there’s no real reason to rehash the content, but rather what makes it different and worthwhile. First, and most importantly, it sounds goddamn fantastic - any avenue with which you choose to listen to “AF” is a perfectly cromulent choice, but do yourself a favor and ingest this with some headphones at least once. It is perfection. Second are the guests – to no surprise, many members of the Merge family show up: Jenn Wasner (Wye Oak, Flock Of Dimes) and Allison Crutchfield (Waxahatchee) add backing vocals, Owen Pallett (Arcade Fire, Hidden Cameras) provides strings here and there, Matt Douglas (Mountain Goats) does his saxophone thing, and finally none other than the legendary Peter Holsapple (The dB’s) plugs away on the piano on a couple of tracks. On top of that, many of the songs have been slightly reworked – as an example, “Saving My Ticket” is almost a bossa nova song now. Third – it’s fucking Superchunk. Don’t be an idiot, buy everything they put out, it’s the only way to live life successfully.
Christian Fitness
You Are The Ambulance
Self-Released
2019
Rating: 7.5 skull tongues out of 10
It’s pretty exciting to come across an album from a new band that immediately sounds familiar – it sounds like a record you might already have in your collection, only you don’t know these particular songs. I had that feeling with the ridiculously named Christian Fitness and their newest release “You Are The Ambulance.” As is typical for me, my very next thought is who does this new band sound like? I hear elements of PIL, some Devo for sure, the Fall in their quirkier moments, but what it sounded most like was McClusky – a little less agro than McClusky could sometimes be, but the comparison was undeniable. Now, being a learned man of science, my next step was to do a little research on Christian Fitness (aka punch their name into Discogs) – it appears this is a solo project (it doesn’t sound like it), or they were just too lazy to list the rest of the band. The one member listed? Andy Falkous… and if that name sounds as familiar to you as it does to me, it’s because he used to be the frontman of… McClusky. I’m not sure If this means my band comparison skills are incredibly accurate, or it’s more of a “no shit they sound the same you simpleton, it’s the same dude playing basically the same type of music just under a different name.” Regardless, I like it, it scratches that spazzy/post-punk/angular/noise rock itch that I pretty much always have in the back of my brain, and that’s good enough for me. Also: apparently this is Andy’s sixth album under this moniker (all of which seem to be self-released & digital only), so not only is the artist not new, this particular outlet for him isn’t new either. Well it’s new to me, dammit!
Amyl And The Sniffers
Amyl And The Sniffers
ATO
2019
Rating: 7.5 speckled rock hens out of 10
Australia have absolutely dominated the punk scene for at least the last decade, and based on this self-titled offering from Amyl And The Sniffers, the land of koalas and kangaroos is showing no signs of letting up. I feel like I’ve been hearing about this band forever, having released a half-dozen singles/eps over the last few years, but this is surprisingly their debut full-length. I’m not sure why it took them so long to release a proper debut, but IMO it was a smart decision, as it allowed the band to refine their sound and channel their anger into this thirty minute survey of the entire punk landscape. At times they can come off as anything from garage (“Angel”) to verging on hardcore (“GFY”), and nearly every subgenre inbetween. But my favorite moments of the album are the opener (“Starfire 500”) and closer (“Some Mutts”), which are closer to a Stooges-esque proto-punk sound, and by far the best version of the band. “Some Mutts” is especially good, my pick for top song of the record, and a direction I hope these Aussies expand on in the future.
The Flaming Lips
King’s Mouth (Music And Songs)
Warner Bros
2019
Rating: 8.5 triangle pants out of 10
If you would have told me going in that on their fifteenth full-length release, “King’s Mouth (Music And Songs),” the Flaming Lips would release a (typically oddball for them) concept album about a hero taking down an evil king baby, with narration by Mick Jones from the Clash/Big Audio Dynamite throughout, and it would be the best record they’ve released since their career high water marks of “The Soft Bulletin” and “Yoshimi Battles The Pink Robots”…well, here we are, and I’m just as shocked as you are. Shocked that the narration and goofy story doesn’t annoy me, shocked that they have gone back to their sound from that perfect period of the early oughts, and more than anything, shocked that more people aren’t talking about this fantastic album. Part of that might be because it’s not been released widely yet (there was limited release for Record Store Day, with full release is coming in July), but in this modern age of internets and streamery it’s not that hard to find. Perhaps equally at play is fatigue for the band – maybe other folks are less willing to tolerate the silliness of Wayne Coyne and company in search of perfect psychedelic pop, but the Lip’s whole aesthetic still works on me. I totally get that the band isn’t for everyone, but as an avowed non-lyric person, their particular brand of nonsensical fantasy is so tied in with the idea of incredibly catchy songs that it’s hard to imagine it not being this way. I mean, and obviously I’m not the first to say this, all of this shit is just the continuation of the Beach Boys ethos in the “Pet Sounds” years or the Beatles during the heyday of “Sgt. Pepper’s Lonely Hearts Club Band”…nothing is too weird if it sounds good and has a hook.
I know this whole record is tied in with some sort of art exhibit that Coyne created, but the true calling of “King’s Mouth” is to be the soundtrack of a fantastical cartoon…something along the lines of what Harry Nilsson did with “The Point,” just some beautiful, trippy animation that visually tells the story of this terrific album.
Fontaines D.C.
Dogrel
Partisan
2019
Rating: 8.5 unavailable connections out of 10
The timeline of my history with “Dogrel”:
1. I listened to this debut record from Ireland’s Fontaines D.C. a few weeks ago. Though it was fine if unremarkable, falling comfortably in the margins of the post-punk style a lot of the kids have been mining lately, particularly across the Atlantic in the UK.
2. Noticed they were the opening act at the Idles show I would be attending the first of May – even though they didn’t blow my socks off with that first impression, it still seemed like it would be worth getting there early to see them live.
3. I was completely blown away by their performance – so visceral and agitated and tense, and it really made me want to revisit this album.
4. Unsurprisingly, spurred on from the strong feelings their live show left with me, I’m now listening to “Dogrel” almost obsessively, to the point that it’s definitely one of my favorite records of the year so far.
5. Now when I listen to them all I can hear is the second coming of the Fall. Perhaps after he died some part the spirit of Mark E. Smith passed directly into Fontaines D.C. singer Grian Chatten. Much like Smith would sometimes do, Chatten paced the stage like a caged tiger while staring at the crowd ominously; unlike Smith, he didn’t spend half the set fucking with the levels on his bandmates’ amps.
What’s the moral of the story here? Listen to “Dogrel,” and even if your first impression isn’t strong – listen to it again. And go see Fontaines D.C. live if you get a chance.
Epic Beard Men
This Was Supposed To Be Fun
Strange Famous
2019
Rating: 7.5 prepaid marshmallows out of 10
Today in breaking news: middle-aged dude who historically loves rap but doesn’t understand the appeal of modern hip hop, greatly enjoys album by fellow middle-aged dudes. That Epic Beard Men sounds like a throwback to a past era I’m sure is just a coincidence. The group is Sage Francis (who I’ve enjoyed for a long time) and B. Dolan (who I didn’t know at all and is apparently big in the slam poetry scene, which I guess is still a thing?), and the combination of the two feels like a more cerebral version of Run The Jewels. Being close to my age, these cats came up on the same style of rap that shaped me as a teen – Gang Starr, Eric B & Rakim, EPMD, all the Native Tongues groups, Wu-Tang, etc – and much to my delight they’ve held true to that aesthetic. These songs often tell stories, frequently employ jazz samples as the foundation of the music, the guest stars (members of Atmosphere, Wu-Tang, and a few others) fit nicely in the flow…shit, there’s even goddamn record scratching! I’d be hard pressed to a name a release that felt so immediately familiar even upon first listen. “Pistol Dave” and “Shin Splints” are the stand-outs here, but truly the whole of “This Was Supposed To Be Fun” is great.
Ex Hex
It’s Real
Merge
2019
Rating: 9 boxy yellow birds out of 10
Did you fall in love with the last Ex Hex record, “Rips,” like I did? If your answer is “yes” - congratulations, allow me to introduce you to their sophomore follow-up “It’s Real,” one of the very best albums of 2019; that descriptor will be holding strong no matter how many other quality releases come out this year. If your answer is “no” – I quite literally want nothing to do with you, please go away, you make me sad. “It’s Real” feels so much like a continuation of “Rips” that I’d completely believe both were recorded during the same session, and I mean that as the highest compliment – when you have a sound so dialed in and perfect right from the start, why fuck with a good thing? My review of “Rips” was downright middling compared to how much I would go on to listen to (and love) that debut; because of that I came into this one with guns blazing and expectations astronomical, and gladly, I’ve not been left wanting. Betsy Wright handles lead vocals on a few tracks, including my favorite of the record “Rainbow Shiner,” a song that would have fit in great with her excellent side project Bat Fangs (think a slightly glammier Ex Hex if you’ve never heard them); Mary Timony is in the lead for most of the album though, and her best track “Diamond Drive” is nearly as good. In fact, it should come as no surprise given my effusive praise and the high rating above that literally every song on “It’s Real” is great, and I truly can’t wait to listen to this over and over and over.
The Twilight Sad
It Won/t Be Like This All The Time
Rock Action
2019
Rating: 8 sticky green tabs out of 10
I’ve legitimately been meaning to or actively trying to write about this newest Twilight Sad album “It Won/t Be Like This All The Time” for two months now, and I’ve gotten nowhere. What’s worse, I have no idea why – it’s a very good record but it’s not like it’s some transcendent piece of art that defies words. It’s probably my favorite release by the Scottish band since their debut full-length “Fourteen Autumns & Fifteen Winters,” and may well be one of my favorites at the end of 2019, but ultimately it’s only slightly better than the bulk of their consistently great catalogue. There is decidedly more keyboards/electronics here than you typically get on one of their releases – it often verges into “Disintegration” era Cure* territory, with the most obvious difference being singer James Graham’s insanely thick Scottish accent (which has never stopped being one of the most delightful aspects of this band, FYI). I think of the Twilight Sad as being a fairly morose/downer band, but there is a tinge of brightness to the songs of “It Won/t Be Like This All The Time” that almost push it into the vibe of a spring/summer record instead of something that sounds like the soundtrack to being hunkered down under blankets in a blizzard.
*I read after writing the bulk of this review that the Cure’s Robert Smith actually had a hand in helping the Twilight Sad make this record, so duh. Also, I listen to a shitload of the Cure so there is no wonder I made this connection, even if subconsciously. More bands should probably get Robert Smith into the studio, because the world would be a better place if more bands sounded like the Cure.
