IT’sALIE, Wild Games (Frontiers Music s.r.l.)
I know it’s lazy of me to write about arena-metal bands, given that I was in one for about 14 years and know the genre and all its predictable, hare-brained tropes like the back of my hand, but I think it’s been a long enough while since I last wrote up an LP from the Frontiers record label, which I always affectionately refer to as “Frontiers Mercy Hospital,” given that they remain committed to releasing records from bands whose musical growth stopped at either Judas Priest or Iron Maiden. The band’s name isn’t a misprint, they’re not “It’s A Lie,” but they’re Italian, so what do they care (it makes me think of all the Americans out there who’ve gotten tattoos with “genuine Chinese characters” that actually read something like “If tent parakeet for” or whatnot). These guys say they like Lynch Mob, Dio–era Sabbath, and Southern Rock,” how adorable, let’s go. OK, it’s a girl singer whom they tout as having Janis Joplin chops, which she doesn’t, more like if your aunt sang for a Skid Row cover band, which is what the first song (“Waiting For The Rain”) sounds like. The next soggy tune sounds like Buckcherry, zzz I am getting shleeeepy, nothing to see here but yay for these guys, sure. B- —Eric W. Saeger
Onelight, Autobody (self-released)
Finally something I can sink all four of my canines into, from a French R&B-experimental hybrid-electronic DJ/producer who’s gotten love from DJ Mag, Complex, and Rinse FM, I’m all over this. Dude looks like a cross between Borat and the U.S. Olympics goalie, and I simply can’t be arsed to try Googling up his real name, but he’s got more soul in him than a dozen Jamie Liddells or (lord help us all) Steve Aokis. He kicks things off with a glitchy dubstep-adjacent curveball (“Starter”) that had me expecting a showoff-y, unreadable noise filibuster, but it settles into a wickedly relatable groove that’ll be the envy of a lot of EDM guys. A lot of stuff goes on here, folks, from Mariah Carey diva-twee (“Let It Be,” featuring the helium-inflated vocals of Nikki Ariel) to bong-bubbling reggaeton (the title track) to Martian bloop-tech (the Tristan Price-guested “Keep Your Heart Alive”). I have absolutely nothing bad to say about this record, it’s truly a beauty. A+ —Eric W. Saeger
PLAYLIST
A seriously abridged compendium of recent and future CD releases
• Oh great, here comes another Friday, specifically the one on March 6, which spells new albums for your ears! We’ll start this week with very old U.K. New Wave band Squeeze, who tortured human ears in the 1980s with jangle-pop nugget “Pulling Mussels (From The Shell)” and the even more awful
proctologist-waiting-room standard “Tempted,” which had xylophone in it, before xylophones became cool again in the Aughts for whatever reason! The band’s revolving door membership once included singer Paul Carrack, who was in Mike And The Mechanics for a while, but either way, during their early ’70s breakout era, Allmusic hailed the band’s songwriting core of Chris Difford and Glenn Tilbrook as “the heirs to Lennon and McCartney’s throne,” that is to say, they were the next Beatles, a compliment critics have doled out over the years to, let’s see, The Bee Gees, The Monkees, Oasis, and the Bay City Rollers just to name a few (in the Reagan era, Tears For Fears skipped the middleman and just came right out and said they were the new Beatles, that’s telling ’em!). Whatever, Squeeze has a whole new incarnation these days, built around Difford and Tillbrook, including Dirty Vegas singer Steve Smith. This all brings us to the band’s new album Trixies, their 15th. The project features songs written by the duo in 1974 when they were teenagers (19 and 16, respectively), long before their first official record, which is as things should be, given that the chill-pop single, “You Get The Feeling” sounds like it was written by two teenagers who had just discovered the guitar arpeggio, how useless!
• New Jersey-born R&B/pop singing man Charlie Puth shoots for his fourth straight Top 10 album this week with Whatever’s Clever! He is really going for it this time: Instead of settling on feats from nobodies like Meghan Trainor, Boyz II Men, Blackbear or Jungkook again, he’s corralled a Who’s Who of super-famous 1980s names to turn in guest appearances, for instance Michael McDonald, Kenny Loggins and Jeff Goldblum, wait what, why is Jeff Goldblum on an album, what is even going on here, pop culture! There have already been two singles from this album; the latest one, “Cry,” features pop saxophonist Kenny G, who once tried to make jazz safe for normies with no taste, but we won’t get into that. The tune has a yacht rock vibe stolen from Toto’s “Africa”; it is very nice and pretty, perfect for the overhead speakers at Bed Bath & Whatever, I don’t really mind it.
• Before I landed at your illustrious Hippo Press, I was on a team of snarkmeisters at a seacoast-area newspaper that has basically been banished to online-only publication these days. Now, my editor there was a big fan of Morrissey, who used to be in The Smiths, whom she also liked very much, and she’d get all over my case if I made fun of either band in my column, because I couldn’t stand them. Much good-natured ribbing ensued, which usually ended with my messaging something cleverly mean, but either way, I’m sure she’ll be buying Morrissey’s new album, Make-up Is A Lie, just to upset me. But an open mind is important, so I will listen to the title track single, just to upset myself. Yes, it is a tuneless mishmash of French café vibe, 1960s fashion statements and hotdog water, get this nonsense away from me this instant.
• And lastly it’s Kentucky freak-folk fixture Bonnie ‘Prince’ Billy, with his latest album-load of Bonnaroo bait, We Are Together Again. The single “They Keep Trying To Find You” is like James Taylor if James Taylor couldn’t sing all that well. — Eric W. Saeger
NOTE: Local (NH) bands seeking album or EP reviews can message me on Twitter/Bluesky (@esaeger) or Facebook (eric.saeger.9).
Featured Photo: The Grownup Noise, No Straight Line in the Universe and Jennie Arnau, A Rising Tide
