Category: Albums

Sana Nagano, Smashing Humans (577 Records)

Hey man, if I have to get introduced to an avant punk-jazz record by the most sterilized, LinkedIn-style jumble of words I’ve ever read, you do too: You see, on this album, the “compositions are naturally motivic with grid-like melody lines underpinned by relentless rhythmic intensity.” What does this mean? It means that the music of this NYC-based band (i.e. Smashing Humans), as led by Nagano, is probably the most interesting — even agreeable — cacophony to which I’ve ever been exposed, not that I ever honestly seek out avant jazz (it’s more like that stuff finds me). I d_)on’t believe this is actually improvisational; “Humans In Grey,” unhinged and spazzy as it is, goes on a long tear that bespeaks progressive head-drug jazz from the ’80s, and like the designated genre would indicate, the sax, guitar, drums, bass combine with Sana’s battered violin to render pure, raucous expressionism that you could actually groove to. Like the impulsive eight-bit cover art hints at, it’s perfect for clearing your head of any stupid but manageable frustration du jour. A+

Yoko Miwa Trio, Songs of Joy (Ubuntu Music)

At this writing, Jazz Times hasn’t weighed in on this (by my count) fifth LP from the long-time Berklee college instructor’s trio, a pianist who’s been touted by the legendary Ahmad Jamal and has been a regular fixture at festivals and Boston jazz clubs (if you’re a regular visitor to that scene, Les Zygomates Wine Bar & Bistro in Boston closed as a casualty of Covid last year). With regard to her last album, 2019’s Keep Talkin’, the Jazz Times guy noted that Miwa’s work possesses a certain prettiness that jazz snobs tend to snub (“even some of Oscar Peterson’s work was dismissed for being too beautiful”). She won’t get that sort of nonsense from me; not that I’d ever pretend to be a Mingus-head, but I find stuff like this album’s intricately woven rub of Richie Havens’ “Freedom” really just cool. Like Havens’ original Woodstock-hippie outcry, it rushes to say a lot, but in this case Miwa’s expansive wanderings are slowly counterpointed by Will Slater’s upright bass in a boss move. This ain’t lounge stuff, no, it’s way too bold, but it wouldn’t be out of place at one. A

Retro Playlist

Let us go back, friends, back to the year 2013. Do you even remember what it was like before Covid and the Q-Shaman guy who’s part yak and part human, back when everything wasn’t so messed up that you had to hold Zoom meetings with your friends in order to get some semblance of communal togetherness? Oh, wait, for young people, that was how most interpersonal relationships were maintained anyway, so what’s all the fuss about, again?

Anyway, warping back to late February 2013, one of the new releases that week was What About Now, by Bon Jovi. As I noted that week, the title track “starts out with an ’80s-new-wave shoegaze sort of guitar line” and then it devolves into the usual epic throwback radio-rawk fail to which his fans have long been accustomed. That’s nice and all, but one of that week’s column’s main focus points was Flowers, a solo record from Seabear leader Sindri Már Sigfússon, under the stage name Sin Fang. Naturally, since it’s by an Icelandic dude, someone from Sígur Rós had to be involved, in this case their producer, Alex Somers. The album, thankfully, wasn’t the expected Slushie mix of Animal Collective and Raveonettes; some OK Go-style rocking out was present, and so I didn’t just whip out my handy bag of insults when I talked about it.

That week there was also the album The Fire Plays from Ari Hest, whose approach is, in general, stripped-to-the-hooks radio-folk a la Paul Simon. I don’t think I’ve so much as mentioned the guy in the eight years that have passed since my review of TFP, so you probably know more than I do, but regardless, on this album Hest did a decent Seal impersonation on “Set In Stone,” but otherwise it comprised things like hayloft indie (“All Because”) and halcyon-cowboy haze (“Couldn’t Have Her”), which automatically got my approval because Hest mostly sounded like Warren Zevon. Man, does the world need another Zevon, seriously.

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• The first thing I see in this list of new CD releases for Feb. 26 is Willie Nelson’s That’s Life, and of course I can’t resist putting in my two cents, because it’s always fun to make fun of 87-year-old dudes who drive Cheech and Chong vans powered by nothing but pot smoke! What’s interesting is that he is 5’6” tall, which, as his Wikipedia entry specifically notes, is the same height as Patsy Cline. I hope that if I ever get an actual Wiki entry instead of the stupid “Wikipeople” thing or whatever it is, they will make note that I am the same height as George W. Bush. I think it’s important to know that about me, so that you won’t ever mistake me for Danny DeVito. Anyway, with all the important stuff out of the way, we can proceed to the contents of this new album, one that consists solely of covers of Frank Sinatra songs. I sort of don’t blame Willie for doing a victory lap for having lived so long, like, he totally dunked on James Dean and the dude from Nirvana and all those guys, so really, he does have every right to imprison a few musicians in a studio while he warbles old Rat Pack songs in his hoarse grandfatherly tenor. This is actually the second time Willie’s done an album of Sinatra tunes, but unlike the last one, this new album features a cover of “Luck Be a Lady” as well as a duet with none other than famous jazz singing lady Diana Krall (“I Won’t Dance”). OK, I know this has been a lot to unpack and wrap your head around, so let’s move to the next thingie after you gulp down some Pepto Bismol in order to settle your stomach, which got violently upset over my use of the buzzspeak word “unpack.”

• Ha ha, speaking of albums from old and crazy rock stars, look there fam, it’s famous Halloween decoration Alice Cooper, with Detroit Stories, just when we needed it, or at least I did! OK, I know Alice grew up in Detroit, so these tunes are probably about the times he used to play pranks with Jack White? No, Jack White’s young enough to be Alice’s great-grandson, so maybe it’s about the old days with another Detroit guy, Iggy Pop? Nope, Iggy is way cooler than Alice, so they probably never hung around either. In that case, I’ll just ditch this exercise, bite the bullet and go listen to the new Alice single, “Rock & Roll!” Nope, it’s not the Led Zeppelin song, it’s the old Velvet Underground song, so apparently the album title refers to Alice’s favorite songs that have the word “Detroit” in the lyrics. Say, guess who plays guitar on this? That’s right, it’s Joe Bonamassa! This rocks so hard, like, if you had just arrived from another planet and this was the first rock ’n’ roll song you’d ever heard, you’d be like, “Ha ha, wow, dig this crazy music!”

• Blub blub blub, I’m drowning in awful music that never should have — wait, belay that order, leftenant, it’s a new Melvins album, called Working With God, we’re saved! One of the songs, “Brian the Horse-Faced Goon,” is part joke song and part early Ministry, I love it so much I’d marry it if I were single.

• To close the week out, it’s one-man U.K.-based electronic-drone-whatnot project Blanck Mass, with In Ferneaux, his fifth album! The single, “Starstuff,” is just fine I suppose, if you like krautrock and ’80s sci-fi soundtrack music mixed together. I don’t, but then again, I have become biased against music that sucks, so don’t mind me.

Disco Shrine, xxoo Disco (self-released)

Man, the world just needs to stop a second so I can catch my breath. This week I had to deal with a string of disasters, including two different hacks of critical life stuff, then it was the news about the “Robin Hood” subreddit Wallstreetbets helping desperate people make big money by trolling hedge funds, and today, this came into my emailbox with little explanation, the first EP from a day-glo Los Angeles-based girl who, I’m told, “bops,” in other words writes songs that have a lot more to offer than most of the corporate-run ridiculousness you usually hear on dance radio. The Iranian immigrant does have a great formula if you can get past the many trap beats (I still can’t, I’m sorry); the song structures and hooks are more like MIA and Gwen Stefani than anything else, marinated in hip-hop but with an eye toward ’90s-throwback radio. She’s getting big overseas and will probably take down a good number of slow-moving Taylor Swift fans as things progress. A-

Trance Wax, Trance Wax (Anjunabeats Records)

Here we have a Belfast-based DJ specializing in more-or-less throwback trance and meanwhile being touted as an innovator. That didn’t sit well with me for obvious reasons, but I was going to inspect this album anyway, being that it’s on my beloved Anjunabeats imprint, the home of the Above & Beyond dudes, whom I’ve talked about plenty of times here. It is a throwbacky record for sure, made of ’90s rave afterparty chill as opposed to more modern, immersive hypnotics. And that’s OK; if you’re big on slightly stripped-down electro, you came to the right place. Toward that, it can feel a bit cheesy here and there, not that that’s necessarily a bad thing. Wish they had put the single Clannad’s Moya Brennan. I’m sure it’s gorgeous, which I’m off to verify now, but again, that tune’s not on here, so it doesn’t even apply. B+

Retro Playlist

Going back to Feb. 17, 2011, your not-so-humble Playlist guy here (moi) was babbling something about Boston oi-pop band Dropkick Murphys, who “have made a career out of making Jonathan Papelbon into a tutu-wearing dancing bear.” The new album at the time was Going Out in Style, a concept album about some Irish guy, because as we all know, there are no other types of people in Boston except for Irish mill-workers who work 78-hour shifts. Thus a departure, more or less, but I did note that there were a few songs Bruins fans could sing at the top of their lungs “while the Bs get pasted by horrible teams like the Panthers” (that sentiment has changed now, of course, being that the team has no good scorers these days except for a few 40-year-olds and maybe the mascot).

Not that my B- grade reflected it as much as it deserved, but truly the loser album up for discussion that week was Native Speaker, from Montreal-based indie band Braids. The buzz over this, their debut album, was deafening, which made me instantly suspicious. And they did get some blowback from the press, which surprised me. The haters (I was one of them) thought these guys were too much like Animal Collective, “indulging in the sort of repetitive robot arpeggios you hear during the happier moments of nature documentaries.” In other words it was nice, sappy and disposable. I mean, it’s not a horrible album; I guess what surprised me was that no one jumped on the band for the album’s title track. It sounded too much like a Fever Ray tune, which is, admittedly, not shocking, being that the band’s singer sounds so much like Karin Dreijer Andersson (i.e. part Sinead, part Bjork).

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Just like every Friday, Feb. 19 will see a few new albums, from bands and people and self-aware robots with Soundcloud accounts. One of the albums is from The Fall, and it is titled Live At St. Helens Technical College ‘81. If I’m still the professional music critic I’ve always been, the consummate tastemaker who can identify what an album is going to sound like just by looking at its title, I predict that the songs will all be live versions of old Fall songs, probably at a technical college of some sort, recorded circa 1981, or perhaps 1881, when this music was relevant to people other than those brothers who made the Stranger Things TV show. I don’t like The Fall and, um, uh, never really did, like it was always too messy, like Captain Beefheart on mood stabilizers. Feel me, guys? I know, I know, I’m supposed to be the noise-rock connoisseur around here, but The Fall isn’t noise rock, it’s just awful and gross. It’s OK if you like them, and if you do have that particular brain malfunction, I hate to tell you, but you’ll be sad to know that their landmark tune “Hip Priest” is not part of this package. Bummer, dude, but lots of other stupid Fall songs are on there, like “City Hobgoblins” and blah blah blah whatever, I don’t know.

• I think Brooklyn indie-rock band The Hold Steady sounds like They Might Be Giants with a Pennywise (lack of) personality, at least going by the only song of theirs you’ve probably ever heard, 2013’s “The Bear and the Maiden Fair,” the punkish spazz-out that was pretty popular back then. Fast forward to today, and their eighth album, Open Door Policy, which streets on the 19th and is propelled by the Mighty Mighty Bosstones-ish horns of leadoff single “Family Farm.” It’s more along the lines of Barenaked Ladies, that kind of thing, stompy and danceable. I can deal with it.

• Scottish post-punk crew Mogwai have always been pretty cool, don’t you think? Buzzy, loud and all that stuff. But it is a new year, and a new album, As The Love Continues, which has a single, called “Dry Fantasy.” This tune is something of a surprise, like ’90s radio-techno-chill, not a lot of meat to it, but that’s OK, it definitely works if you want to relive all those afterparties where you passed out on your roommate’s futon while talking about French philosophy, and then talk turned to how much the both of you love Ren & Stimpy, which is basically the same concept as Foucault but with better graphics.

• Lastly, it’s Australian indie-folkie Julia Stone, who often records albums with her brother Angus, but not this time. She had some modicum of fame last year when she re-did the Midnight Oil song “Beds Are Burning,” but it didn’t save her from the fate that befalls all decent Australian musicians, specifically the problem with American audiences taking Australians seriously unless they’re in the band AC/DC. Her third solo record, Sixty Summers, will include the song “Dance – Alone,” which I assume is a variation on the wispy, angelic tune “Dance” that was on her last EP, a romantic trifle about picking someone up at a bar. It’s music for moonbats, but it’s nice.

Ashnikko, Demidevil (Parlophone/Warner)

Eh, this is OK for what it is, a nauseating wad of enthusiastically moronic, hip-hop-infused bubblegum roughly in the vein of Billie Eilish and whatnot, in other words blocky, straightforward YouTube-pop that gets to the (more or less) melodic point. The 24-year-old from North Carolina struck a vein of TikTok gold with the viral “Stupid” (featuring Yung Baby Tate, the daughter of former Arrested Development singer Dionne Faris), and is now poised, she hopes, to break a bit bigger in the States than she has in the U.K. Place your bets; she’s obviously got a lot of competition, meaning every Tumblr girl with good teeth and a webcam, but like I said, it’s OK, fronting boomy post-Avril Lavigne righteousness on the Kelis-guested “Deal With It” and a decently bloopy hearing-test beat on “Slumber Party” (alongside Princess Nokia). (OK, I know I’ve been remiss in covering the flood of hilariously disposable TikTok divas, and I’ll readily admit that her social media-professed fascination with intersectional feminism is probably already so, like, totally 2019, but I gotta start somewhere, right?) C

Cult of Luna, The Raging River (Red River Records)

Awesome, a new Nile album, it’s been a while! Wait, what, this isn’t Nile? Well, I never! Who — exactly who — is this then, sounding like Nile, with a side of Silkworm, I demand an answer this instant! Wait, Cult of Luna, you say? I thought they were just a permanent slow-math-metal fixture, destined to be trapped on the Epitaph Records label forever, or whatever indie it was. Nope, it’s them. Figures. I’d kept forgetting to write a little bot that would delete any promos like this from landing safely in my email lest I end up listening to it by mistake, but here it is. They sound a little different for the first eight minutes or so (roaring-drunk-pirate-bellowing vocals, slow doom-metal guitars, stormy proto-emo angst) but then come the pinched math chords, fortified with more yo-ho-ho Blackbeard roaring, and of course no guitar solos. It doesn’t seem like this’ll ever end, you know? C

Retro Playlist

It was February 2013 eight years ago. Let’s commemorate that week, shall we, by briefly looking at the dilemmas on whose horns I was … you know, dealing with or whatnot, on these pages.

Emmylou Harris’ Old Yellow Moon album was on the way, which found her teaming up with Vince Gill and her old guitarist Rodney Crowell in a cohort-palooza of proper bluegrass.

That was nice and everything, but this column’s main focus that week was, as usual, two albums, one of which was High Beams, from a duo calling themselves Javelin. Released through David Byrne’s Luaka Bop record label, it was a pretty amazing achievement in Battles-like tech-indie, at least insofar as the vocals weren’t the same old tedious Beach Boys-nicking that the band’s contemporaries (Animal Collective, Grizzly Bear, etc. etc.) were getting away with. I actually liked that record, and said so: “Javelin is a pair of guys who squeeze every resistor for every bit of worth on the technical end, but my God, someone took some advanced voice lessons — the vocals at startup tune ‘Light Out’ could be mistaken for Yes’ Jon Anderson’s sweet unobtrusive falsetto.”

Still a highly recommended album, as is the other album I talked up that week, Fear Inside Our Bones from Florida roots-emo/radio-rock dudes The Almost. I suppose you could have tagged them as kind of a metal band, but my first impression was a “toned-down Iggy, next-gen emo, or Collective Soul redux, depending on how you look at it.” In other words, the band was slightly difficult to pin down style-wise, but after charting in the Top 200 in 2009, they were more accessible than before. I particularly liked the tune “Ghost,” saying that it’s made of “a few no-wave sounds soldered onto ’70s Foghat-style blues — there’s no doubt in my mind I’ll hear that one in a movie theater lobby or something and won’t be able to remember who the band is for the life of me.”

I still haven’t heard it played at a movie theater or a sports bar, so there went that theory. It’s still pretty awesome, though.

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Feb. 12 is a Friday, which means that there will be a new set of random albums available for sale in the stores and whatever, and now let’s talk about hipster rocker Ariel Pink, the one-time Lilys member who has been trolling his fans and the music media for over a decade now. His hobbies include posing as a really crazy political extremist, which had gone largely unnoticed until the other week, when I wrote a piece on Medium.com about him. To my knowledge, no journalist has ever come out and accused him of being an Andy Kaufman-style super-troll (one YouTube commenter said that’s exactly what Pink is), and there’s the outside possibility that I’m wrong (I’m not), but he pulled a too-obvious publicity stunt in the wake of the January 2021 invasion of the U.S. Capitol that instantly put him in the same league as Sacha Baron Cohen (Borat). He actually got interviewed on the Tucker Carlson Show by claiming that he was dropped by his record company “simply for attending the event,” which did cause a bit of a stir. No one actually did have any video or photographic evidence of Pink hanging out at the rally that led to the insurrection; there was just a mysterious Instagram post that “outed” him, which later resulted in a tweet from his record company claiming they’d dropped him. Long story short, fans and casual observers who’ve been well aware of Pink’s over-the-top pranking over the years did notice a particular clue that gave up the jig. I’m pretty proud of this journalistic moment, but I won’t take up this whole space by elaborating further. If you want to read about it for some ungodly reason, just google “Eric Saeger Medium” and click on the first link you see. The story will be in the list.

• Speaking of intolerable college-pop bands, look guys, it’s Philadelphia/Brooklyn-based one-hit-wonders Clap Your Hands Say Yeah’s new album, New Fragility, fresh out of the oven! The band hasn’t charted since 2011, back when half the emails in my inbox were from public relations hacks trying to get me to write about the band’s Hysterical album (even after I’d already done so), but here we are again, I can hardly contain my enthusiasm! The latest single, “Where They Perform Miracles,” basically rips off Bright Eyes, which actually might be a selling point to some of you people. It’s an OK-sounding indie-folk strum-fest, naturally without a discernible hook, but plenty of strummy, alt-folkie vibe.

• Man, I don’t know how people can stand what passes for “music journalism” these days, really. It’s always the same annoying overuse of litotes (double-negatives — for example, writing “not bad” instead of “good”) just to fill space. There’s a new album from dream-pop duo Sports, called Get a Good Look Pt. 1, and this is what UnderTheRadar said about it: “’Never Know,’ the latest track from the band, wastes no time in delivering the band’s established blend of indie pop and funk, infused with touches of psychedelia.” Why would some band waste any time in the first place, right? And why didn’t the writer just say, ‘It sounds like the Bee Gees singing underwater, like everything else they do’?

• Finally, L.A. indie band Bodies of Water releases Is This What It’s Like this week. Test-drive single “Every Little Bird” starts off like a Rocky Horror bit, then becomes the boring Brooklyn-hipster gymnasium-pop nonsense I expected, yay.

Practice, Not A Game (self-released)

Practice is the stage name of one Michael Tapper, a New Yorker who’s played drums for We Are Scientists, Bishop Allen and a couple of other bands. The nom is an in-joke that I suppose is funny to some; the backstory is that NBA great Allen Iverson kept repeating the word during an interview to troll the gathered press corps who were on his case for not showing up for team practices. And that’s about as deep as things get these days with one-man one-offs, not that I’m trying to put a hex on Tapper if he’s going to go further with this project, a sometimes-deep-but-mostly-not stab at Hot Chip-ish house. It doesn’t hurt that Tapper’s voice sounds similar to that of TV On The Radio’s Tunde Adebimpe in mellow mode a lot of the time; with all the from-the-mountaintop reverb the beats get, a voice like that makes everything more downright approachable. Weird, when he harmonizes with himself it sounds like Duran Duran. A

Asiahn, The Interlude (Since The 80s Records)

Imagine Toni Braxton evoking Lorde on a Smoky Robinson tip. Then imagine that sort of #BlackLives-steeped vibe finding a home on a soul-centric record label that’s trying to be the polar opposite of Motown in the area of artist-exploitation. That’s a logical direction in which to turn for any singer, let alone one who’s written tunes for Pitbull, Drake, Lil Wayne and so on, someone who wants a solid platform for the out-and-proud songs she’s held in reserve for however long now. Rather than beating the silly love song horse to death, the theme of this EP is self-care expressionism, but that doesn’t mean it isn’t romantic or whatnot. In fact it is, which is of course quite fitting in these times of endless isolation and second-guessing everything we do. “My World” kicks off the festivities with a 1970s-bedroom-radio miasma; “Gucci Frames” mixes understated trap beats with megaphone-whispered nothings muttered into the void; “Messed Up” tables waterlogged post-bling afterparty ambiance. A

Retro Playlist

This week we revisit a couple of albums I covered exactly six years ago, in 2015. Back then, the albums I was actually kind of psyched about included Colin Hay’s Next Year People. Hay used to be in Men At Work, so I was mildly excited to see if he could recreate the “magic” of their ’80s hit “Down Under,” but of course he couldn’t, because if he had I would have found joy for a few moments. No, instead it was a lame Van Morrison type song which, obviously, warrants no further examination.

Anyway, the main focus that week was the usual two-album tandem, first focused on Hyperview, an album from Pennsylvania band Title Fight. The short-version takeaway was “sometimes a band’s sound changes so much they should really just change their name,” being that the band had suddenly sworn off the Drive Like Jehu roots-emo approach of their first album and gone almost totally Joy Division. Today, I have no idea why I said that the switch was a display of good judgment, seeing as how plenty of people actually like Drive Like Jehu. Maybe I was trying to tick those people off, which is a pretty safe bet, but then again, maybe my stomach was, at that time, fully capable of tolerating yet another band that ripped off Joy Division. I really have no idea.

The other defendant that week was a buzz band from Los Angeles called Street Joy, with their self-titled EP. Not that I don’t have more important things to do than Google the band to see if they’re still together, but there was promise, at least with the opening song, “Wandering in Your Mind.” The idea there was “BRMC-meets-Strokes lo-fi garage-raunch, decorated nicely enough with some old-school Iggy hollering.” Another song, “Moon,” sounded “like Strokes doing a slow, bullhorn-powered version of something Alice Cooper left off the Billion Dollar Babies album.” In other words it was mostly Strokes pickpocketing, which was, I stated, “worthy of placement on a Ford Focus commercial, if that sells you.”

Given that I haven’t heard a peep from the band since 2015, they probably didn’t even soundtrack a My Pillow commercial, which is just sad.

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• On Friday, Feb. 5, all the latest CDs come out! Remember when that used to mean something, when all the new records would come out on Tuesdays, and your edgy, hip record store would write all the new albums in erasable Sharpie on a whiteboard, and when the clerk wasn’t looking you’d draw little skulls and other edgy transgressive things on the whiteboard, and it was all so fun and exciting, and then everything went online and rock ’n’ roll died its last death? Oh, well, Tower Records and Strawberries and all those things are all gone, converted into Dave & Buster’s and emergency soup kitchens or whatever, but I’ll have you know that there are still several record stores in New Hampshire, like Bull Moose in Portsmouth, Metro City and Music Connection in Manchester, Pitchfork in Concord, and four different Newbury Comics. To be honest, I haven’t been in a record store for a year, because of the plague, but anyway, some or all of our local record stores will be blessed with brand new stuff on the 5th, starting with Medicine At Midnight, the newest “slab” from corporate grunge charlatans Foo Fighters! Supposedly the band recorded this album in a haunted house, like weird things kept happening during the recording sessions. The weirdest thing I can imagine is my actually being impressed by the album’s second single, “No Son of Mine,” but here we go, it’s queued up on the YouTube. Eh, it’s OK, a punkish, grindy tune that’s part WWE entrance theme and latter day Jello Biafra. Pointless but OK.

• British rapper Slowthai has finally gotten around to releasing his second album, Tyron, which is on the way and scheduled for a Feb. 5 release date. The lead single, “Mazza,” features A$AP Rocky as the main guest, adding his usual spit-takes to Slowthai’s agile Eminem imitation. The beat is made of creepy, Postal Service-like minimalist weirdness, if that floats your boat.

• Haha, I thought the whole “John Carpenter making albums” thing was just a passing meme, but here’s another one, titled Lost Themes III: Alive After Death. The idea behind this is that Carpenter didn’t use all the two-note songs he wrote for his movies, like the two-piano-note theme to Halloween, the murky mess he wrote to soundtrack The Thing, you know, all those things that sounded like Keyboard Cat but in real life, not a meme. The sort-of-title track, “Alive After Death,” is just spooky and whatnot, the backdrop to an animated film. It’s like the intro to that movie Creepshow but not with Scooby Doo-level animation.

• Finally this week, it’s The Weather Station’s new album, Ignorance, hot off the presses and whatnot! If you’re the type who likes decent-enough folktronica and whatever, you might enjoy this album, because frontwoman Tamara Lindeman is like a cross between Sia and Aimee Mann. “Tried To Tell You,” the single, isn’t bad at all, like a low-budget Lana Del Rey with a pulse.

Cyrrca, Cyrrca (self-released)

By now, you’re probably in the habit of heading for the hills whenever I start talking up an ambient album, but in this case I’d encourage you to stick around, as this isn’t just composed of a bunch of accidental “hey, that sounds kind of neat” finds. I mean, yeah, it’s that too, but what electronic record isn’t these days, and besides, this is actually based on the mononymed artist’s world travels over the last several years, to Turkey, Ireland and other places, toward the goal of “spiritual enlightenment.” Wait, don’t laugh at that bit, we could all use it, for sure, after a year like the last one, and it doesn’t hurt that he threw together a few one-off collaborations while journeying, guest feats that included rappers, weird instrumentalists and all that stuff. No, it’s not some soundtrack to a movie that’ll never be made (all of the songs have videos, while we’re here), more of a high-end sonic affair in the vein of Aphex Twin, Moby, Massive Attack, that sort, but at a more un-funked, chill level. There’s an art book that goes with it, by the way. A+

Everdawn, Cleopatra (Sensory Records)

Every time a new girl-fronted symphonic-metal album comes barreling in here, I get to wondering if the tunes might actually possess the power to inspire their listeners to buy actual opera CDs, like “Cavalleria Rusticana” and “Pagliacci,” the two most-often-paired-up operas when you go to, you know, the opera. I know that might sound a little crazy, but if you’d buy this album more for Alina Gavrilenko’s soaring soprano than the polite Wayne’s World-style power-metal on board, face it, bub, you might want to go all the way and drop a few hundred to take your date to see good ole “Cav and Pag” at the Boston Opera House, if the current horror ever ends, of course. Aside from that, there’s really very little to add here in the way of music reviewin’ per se. If you’ve heard Trans Siberian Orchestra or Visions Of Atlantis, you’ve already been here, and, fact is, Alina’s capable but not remarkable. But don’t let that stop you; all I’m trying to accomplish is to get you to think for just five seconds about how cool it would be to brag to your gamer friends about going to an actual opera. Try it, man! (Ha ha, their Facebook has one of the guys getting his picture taken with the actually-named Nicko McBrain from Iron Maiden. Hee HEE, he’s giving a thumbs up, an expression of approval commonly exhibited by humans!) B

Retro Playlist

Two up from the Way-Back Machine, this time from 2015, which seems like a million years ago, doesn’t it? That was the same year as Bob Dylan’s Shadows In The Night and Kendrick Lamar’s To Pimp A Butterfly. Now do you remember? Ha ha, I don’t.

This week in 2015, I covered two albums, the first of which was Black Coffee Sigh, the second album from Boston-based bar band Sunshine Riot. It’s hard-ish rock, not all that well-produced, but, as I alluded to back then, they are/were something of an area band, and “I only write about albums like this when they’re from decent local artists, not because I expect big-production guitar-rock to overthrow trap-snap diva-bling anytime soon, even if the fantasy is comforting to some.”

Anyhow, the band’s was taking on “the doomed mission of bringing back rootsy bar-band rock, specifically southern-rock, more or less,” and I was pretty nice to them overall. There was opening tune “Black Coffee Sigh Side A,” “a doomy/crunchy thing that makes like a Ministry warmup,” but from there the record becomes an amalgam of Hank Williams Jr. quasi-cowboy-punk (“This Is a Raid”), sweetly rendered Allmans nicking (“Better Days”), Doobie Brothers head-drug-pop (“Liz Stone”) and blissy but faceless ’70s filler (“Dead Baby Cocaine Blues”). A band you might like to see live, I suppose.

The other one that week was The Mindsweep, the then-new LP from U.K.-hard-rawk outfit Enter Shikari, a record I did actually like, more or less. That album was their fourth and found the crew “comfortably at ease with their ingredients, a unique mishmash of grime-rap, bass-driven Meshuggah-style death-metal and, well, screamo, if you must know.”

But don’t let the screamo bit scare you away, I tried to say. The album is “a vision of early-aughts Linkin Park reborn as a po-faced limeys, with a tightness that would give Pendulum night sweats if they ever had to face them at a metal-palooza.”

The fact that Enter Shikari is awesome is probably old news to you, if you’re into neo-metal-ish rock, but, anyway, that

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• The next catchall date for CD releases is Friday, Jan. 29, a day that will live in infamy, because oh noes, I have to deal with Revolutionary Love, the newest LP from rabies-frothing grunge-folk howler-gibbon Ani DiFranco! You all know this Buffalo, N.Y.-born busker’s story, like, she became emancipated at age 15, leaving her mom’s to strike out into the great Unknown, which is super-hard when you’re the child of MIT grads who were actually happy to just be able to watch The Price Is Right in peace without having to deal with Ani’s constant barking at postmen and meter-readers and whatnot. I haven’t had the pleasure of dealing with her last few albums, all of which, like the ones before them, were released on Ani’s own record label, with crayon album-cover art or whatever, but don’t knock it, because it’s not everyone who can just simply produce and release and market their own albums, especially with only the support of MIT-grad parents to count on, so you shut up right this minute while I go and damage my brain to the strains of the album’s title track. It is a slow song, like a warped outtake from a 1980s Dionne Warwick album, and the lyrics are about dealing with anger and empowering oneself. Good heavens, this dumb song is over seven minutes long, and I must shut it off right now.

• Speaking of the ’90s, Goat Girl is a new-ish all-girl post-punk band from England that sounds like Hole, but with less throwing stuff, not that their 2018 semi-hit “The Man” wasn’t somewhat edgy. On All Fours, their newest, streets on the 29th, led by the single “Sad Cowboy,” an eclectic little ’90s-chill song that has elements of Natalie Merchant, Calexico and, for no reason whatsoever, an occasional break interpolating 1970s disco drums. It’s not as annoying as I just made it sound, so go listen for yourself if you’re even slightly curious.

• Dum de dum, boom boom kapoosh. Huh, what’s this, it’s Americana singing person Langhorne Slim, who literally named himself after the town he was born in. Now there’s an idea, I’m changing my name to Westford Saeger. Slim was in the band Trachtenburg Family Slideshow Players. Any of you guys remember when I was twisting myself into funny Rold Gold pretzel shapes trying to review one of that band’s albums, and you could just tell I was bored out of my skull? Doesn’t matter, because Slim’s new full-length, Strawberry Mansion, is here, with a decent-enough song, called “Mighty Soul.” His yodel-y voice is perfect for this kind of chill but grungy folkie-pop. He’s like a cross between Conor Oberst and Cat Stevens. Some readers will salivate uncontrollably over that description, and others will simply continue coughing up pesky hairballs.

• Finally we have Chicago-born gloom-indie songstress Lia Ices, who’s been compared to Feist, Bat for Lashes, etc. Her fourth LP, Family Album, is out imminently and features the tune “Young on the Mountain.” Her voice sucks but the ’60s-radio-pop vibe is OK.

M Ward, Think of Spring (Anti Records)

Sorry I missed the PR email when this CD came out officially on Dec. 11, but better late than never, I always say. I assume you’re aware of Ward’s collaborations with Monsters of Folk, Norah Jones, Bright Eyes and all that, but maybe you’ve passed on his solo stuff, which does have a tendency to be a bit sparse. Good news is that sparse is the perfect way to be if one wants to cover Billie Holiday’s entire Lady In Satin album and be somewhat edgy at the same time. That record was her final one, released in 1958, and it, like other examples of her output, was a big inspiration to Ward, who pays a sort of alternate-universe tribute to it. Ward’s mumbly voice is nothing compared to Holiday’s, of course, and the production is not much beyond boombox level, but poignance and sincere reverence do drip from his stabs at “It’s Easy To Remember” and “I Get Along Without You Very Well,” among all the others. There’s an odd sort of verisimilitude at work either way; Holiday’s version came out when her voice was largely trashed, whereas Ward’s voice has always been, you know, a non-starter or whatever. B+

The Avalanches, We Will Always Love You (Astralwerks Records)

Another bit of catch-up here, the most recent LP from the criminally underreported (at least in the U.S.) Australian electronic duo, who’ve counted none other than Baltimore-based rapper Spank Rock as one of their touring members. These guys originally came up in the late ’90s, hoping to make it big (if you count bands like Drive Like Jehu as “big”) in the OG-emo scene, and those roots are part of why they’re so rich and delicious: They’re mildly noisy, in fact no-fi at times, but still a good choice for afterparty vibe. This time, guests include Orono, MGMT, Neneh Cherry and — wait, what — former Clash band member Mick Jones. As you can tell, it’s one of those Mad, Mad, Mad, Mad World-style cameo-fests, and the vibes are, by and large, up to the task. The title track is old-school Moby-ish pseudo-soul stuff; “We Go On” is throwback disco as put through a deep house filter; “Until Daylight Comes” gives us a broke-down trip-hop effort from a perfectly placed Tricky. A+

Retro Playlist

Exactly 10 years ago to the week, I covered a couple of albums that were actually in my sweet spots, even if they were a bit disparate in their target audiences. Of the Jan. 18, 2011, release from Decemberists, The King Is Dead, I blathered, “With the one-off ‘concept album’ experiment from Decemberists that was 2009’s Hazards of Love now in the books, the band turns again to the hayloft-indie space while claiming that three-minute pop songs are more difficult to put together than conceptual magnum opuses.” What I was implying with that little mouthful was that they were trying to edge toward more commercial things, but — wait, calm down, I didn’t hate the band for selling out a little. I was pretty nice to this album, actually. Aside from not outright complaining about Peter Buck’s completely unnecessary guest shot, I also gave them props for the album’s curve balls: “a grog-and-whaling accordion/fiddle break in the wry mining storyteller ‘Rox in the Box’; a nod to Jimmy Buffett in the sedate, Christmasy ‘January Hymn’; and some not-unlikeable NASCAR bluegrass (‘All Arise’). It’s an OK album, see, even if half your friends will assume it’s an Arcade Fire joint and judge it accordingly.

The other bit that week was Tao of the Dead, from And You Will Know Us By The Trail of Dead. Now there’s a band I can only like so much, which isn’t to say I dislike them, just that nowadays I find them about as compelling as a PBS workout video. Sure there were moments of heaviness, which, come on, is their real selling point (“The sounds spring from ideas Blue Oyster Cult, Offspring, Foo Fighters and Minus the Bear could have had, meaning you stubborn old-schoolers will have to allow for Hello Kitty-fied half-punk whimsy between the walls of noise, which are, I assure you, psycho-heavy at times [‘Weight of the Sun’].” But in the end, the band itself is their biggest problem; their indie-ness is an obvious handicap, as I alluded to later: “…imagine Foo Fighters trying to write a sequel to Tommy while being very mindful of their limits in both technical aptitude and imagination, but a little more interesting than that.”

Both albums, then, belonged in the “better luck next time” bin.

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• The Jan. 22 general-CD-release-date is just about here, which can only mean one thing: some indie band from Canada is about to break it big, if by “big” we mean city bus fare totally covered and enough money to take the whole fam to Burger King. No, I’m kidding, this band called Kiwi Jr., which is from Toronto, was probably in Nylon magazine, and if so, the reviewer put down their vape pen just long enough to go straight into glitch-mode and make up some nonsense words to describe the band’s first album, whatever it was called. But now this weirdo band is on Sub Pop Records, so all of us actual critics have to put down our vape pens in an elegant, refined manner and pretend we’re paying attention to the band’s upcoming new album, Cooler Returns, because otherwise we’ll be considered hacks who don’t know what we’re talking about, as if we ever do. They have a weird stream-of-consciousness trip going on, although to be honest the weirdness mostly appears to stem from stupid nonsensical lyrics (“Throwing dead birds into the air, singing howdy neighbours how’d you like my new ride?”). I mean, the title track is nice and jangly and stupid, like, if you like hopeless college-rock nonsense like Parquet Courts or Franz Ferdinand you might dig it, and at least there’s a dated-sounding stun-guitar solo at the end that might impress you, if you’re impressed that the guitarist for a hipster band would even learn how to play a guitar solo.

• Speaking of sophomore albums I’m not particularly excited to have to deal with, Austin, Texas, soundsystem Thee Conductor is releasing Spirit Of A Ghost this week. I call this twosome a soundsystem because it’s basically two guys, a producer and an engineer, and that’s it, but this time they have help on the vocal end from Bonnie “Prince” Billy (a.k.a. Will Oldham), on the single “Tsk Tsk,” a track steeped in slow finger-picked acoustic guitar and made more than palatable by Oldham’s voice. The fadeout is decent, as the guitar is suddenly drowned in UFO noise, but not before the thing has sort of taken hold of your brain as a chill earworm. I don’t hate it in any way, which automatically makes this column a rare collectible that you should pass on to your grandchildren.

• Delving further into the paltry amount of new albums to talk about his week, the mostly obscure electronic dance guy known as TRZTN is New Yorker Tristan Bechet, whose new album, Royal Dagger Ballet, is on the Walmart trucks for delivery as we speak. The album cover is deconstructionist and kind of gross, but that only means that it’s Important, but remember, if you ever hope to be cool, learn to love art that grosses you out. Jonathan Bree guests on the single “Mirage,” a sexytime deep-techno joint made out of faraway-sounding vocals and pseudo-’80s Stranger Things vibe.

• Finally, we have James Yorkston And The Second Hand Orchestra’s new LP, The Wide Wide River, a pretty cool record if you like emo for grown-ups, a la Elbow and such. Album opener “Ella Mary Leather” has a bonky but tasteful piano line, a bit like Ben Folds, of course, but more refined.