dhoshaw

Bloc Party tries to make a concept album about the rise and fall of a relationship. Turns out a 23 year old pop star named Olivia Rodrigo beat them to it. OR3 is better than this in almost every way possible, better lyrics, better synths and guitars and better vocals. Next to Rodrigo’s album, this “edgier” take on modern relationships doesn’t stand a chance. Bloc Party are one of the sad cases where they have never surpassed the greatness of their debut album. I suggest you go listen to that instead.

I thought it would be impossible to make a follow up to Stick Season, but this album compliments and adds to it perfectly. There is enough sonic and lyrical innovation to set it apart from its predecessor and enough catchy tunes to cement its own legacy. On my first listen I really liked Willing and Able, Porch Light and Headed North. Headed North was especially fun because it sounds like it was recorded live in the wilderness which very much suits the vibe of the album. I also enjoyed Paid Time Off, Deny Deny Deny, and Dan.

Even though I’m the biggest ‘The Cure’ hater I know, the band’s influence on this album makes perfect sense and evolves it to a whole new level. Whether it be the Robert Smith feature, song title or lyrical mention in ‘drop dead’, they are all over this album! And I kind of love it? ‘maggots for brains’ and ‘purple’ were obvious stand outs for me but I honestly just love the structure of the album because it doesn’t get bogged down in one genre or song, it switches between sadgirl ballad to energetic head-banger deftly.

Probably my favorite album of the year so far! They’re from Chicago so I had to give them a listen but I realized that I had actually heard them open for Guster 4 years ago! They sound somewhere in between Waxahatchee and Rilo Kiley, country but not country. I instantly sent this album to my dad without even finishing the album because I had to spread the word of this miraculous album!

I’m not joking, his might be the best Bleachers since their debut. Jack and the gang have refined their new sound over the past couple albums, but instead of sounding like the same old same old, this album feels like new territory for the band. I never would have thought that the same band who did “I Want to Get Better” would use a fiddle, banjo, and by the sound of it, sitar 4 albums later. Aside from singles like “you and forever” and “the van” which have already become classics, I loved their more melancholic contemplative songs like “sideways” and “dancing”. While I’m not the biggest fan of the over abundant autotune and occasional harpsichord, “take you out tonight” and “I’m not joking” are sure to be amazing live. Bleachers Forever!!!

Death Cab surprises me once again by still making good music nearly 30 years on! At times this album feels too sincere and sweet but then the drums and bass come in and shoot it right down. This band really is more than the sum of all its parts. It wouldn’t be the same if you took out the ethereal guitar, biting drums, throbbing bass or Ben’s angelic voice. Ultimately it is the voice that centers the whole album while the other elements ebb and flow creating one of the most sonically interesting Death Cab albums in years.

A sprawling Americana complex epic for the ages filled with ample country twang and Dylan-esque lyricism. This album sounds like an ode to the Midwest with mentions to almost every state in the region (except Nebraska 😢). I can imagine myself listening this on long road trips through the “Badlands” and “Cowtowns” for many years to come. It’s certainly long enough to find something new in each listen. I Listened to this album on repeat throughout the actual Badlands. Morby’s song perfectly encapsulates the feeling of emptiness and infinity one feels when gazing into the ancient chasms carved by years of slow erosion. Perfect Road Trip Album.

The most American album made by 4 Irsishmen

Phoebe and friends return in the biggest way possible! Everyone is saying how depressing this album is, but it actually has some of the most joyful songs in her discography such as “Bobby” and (the first half of) “Never Going Back!”. Even dealing with themes of death there are still signs of light. The songwriting is spectacular and Jack Antonoff brings his special sauce behind the boards. Chris Thile shreds on the Mandolin and Nate Walcott rocks the horns. Even Cameron Winter AKA Son-John Johnson’s guest vocals fit perfectly into Phoebe’s world. Extra points for the Omaha name drop!