# Rock/Pop: New & Noteworthy



## SanAntone (May 10, 2020)

*Thread for NEW Rock and Pop albums you think are noteworthy.*

My first post:

*The Wonder Years: The Hum Goes On Forever





*
The Wonder Years have long been masters of a thoughtful kind of melancholy. Always leading from the heart, without getting mawkish, Dan Campbell's lyrical observations have often found a way to be relatable in their simplicity. Way back on I've Given You All from 2011's excellent Suburbia I've Given You All And Now I'm Nothing, singing about struggling, forgotten Vietnam veterans in the park 'Wearing Starter jackets for teams that haven't existed since the '90s' it was a small observation that conveyed so much.

A decade and change since, the most grown-up pop-punks in the room are as musically brilliant on The Hum Goes On Forever as ever they've been. This time, they're looking at things through Dan's newly paternal eyes, and realising that the depressions that could previously become overwhelming must now be forced to the back of one's head, the bottom of the pile, in order that they don't interfere with much more important things. The title relates to how it will never go away - a constant hum - but crucially that it doesn't ever win, either. As The Wonder Years grow older, it is a very them expression. (Kerrang!)


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## SanAntone (May 10, 2020)

*Courtney Marie Andrews - Loose Future*






Accepting yourself as you are takes work, and for *Courtney Marie Andrews*, it meant opening herself up to possibility. The payoff was more than just a privately held personal one. It yielded _Loose Future_, some of the finest songs of Andrews’ prolific past few years.


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## Art Rock (Nov 28, 2009)

Angel Olsen's fifth studio album, Big Time, sees her shift from indie folk, electronica, glam rock, dream pop, retro-rock, art rock, and synth pop that featured on her preceding three brilliant albums to a country infused style that I love as well.


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## SanAntone (May 10, 2020)

The intricately naive _Pad_, by *Peel Dream Magazine*, consolidates the trend of child-like baroque pop that one can find coalescing, for example, with recent works by *Vinyl Williams* or *Healing Potpourri*. Airy, soft, circular floating melodies making a mishmash from the best sounding pop of the 1960s. In this sense, _Pad_ tries to solve the same dilemma of the pop music that influences it: how does one follow a recipe for composition without becoming formulaic? How can we carefully engineer simplicity; forge, out of patterns of predictability, some original and compelling songs? (Aquarium Drunkard)






Brian Wilson influenced pop - but more.


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## SanAntone (May 10, 2020)

If there’s been one deserving criticism of *Maggie Rogers* since Pharrell Williams famously likened the then-NYU student to the Wu-Tang Clan in 2016, it’s that the singer-songwriter entered the pop zeitgeist too fully formed. But they also were rightly dinged for being overproduced. Flash forward three years, much of which Rogers spent self-sequestering on the coast of Maine, and the singer, now 28, returns Friday with _Surrender,_ an emphatic and generally more unbuttoned sophomore project. (Spin)


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## Art Rock (Nov 28, 2009)

*June 2022:*
*Closure/Continuation by Porcupine Tree*



Closure/Continuation is the eleventh studio album by British progressive rock band Porcupine Tree. There is a 13 years gap between their tenth (The Incident - one of the few PT albums that did not make my list of favourites) and this one. In many ways it sounds familiar, and in many ways different. The opener Harridan, one of the stronger tracks, is a perfect example of that mixture. All in all, a comeback in style, and an unexpected commercial success to boot.


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## SanAntone (May 10, 2020)

*WILLOW* never intended to write a record about heartbreak, but who ever does?

It was just a year ago that WILLOW unleashed her album _Lately I Feel Everything_, a love letter to pop-punk. It featured the angsty, melodic breakout hit “t r a n s p a r e n t s o u l” featuring Travis Barker, as well as “Grow,” her collaboration with Avril Lavigne – not to mention “emo girl” with Machine Gun Kelly.

WILLOW’s pop-punk influences and her love for emo music were clear on that record, which itself was a sonic leap for the musician, who already has a diverse aural catalog to her name — she’s come a long way from her debut single “Whip My Hair,” and her pivot to guitar music following her foray into R&B was exciting and daring.

It’s all perfectly paved the way for her latest studio-length effort, <_COPINGMECHANISM_> (out Friday, October 7th), which sees her push even further into her fondness of guitar music. This time, however, she sheds her skin once again, leaving her pop-punk inflections behind to embrace an even heavier guitar-based sound that leans into metal territory. (consequence)


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## SanAntone (May 10, 2020)

*Warpaint Full Set | From The Basement*






This set includes recordings of tracks from Warpaint's album _Radiate Like This_, _The Fool_ and _Warpaint_. 

00:00 - 05:51 - Champion 
05:52 - 09:30 - Hips 
09:31 - 14:38 - Hard To Tell You 
14:39 - 17:43 - Send Nudes 
17:44 - 22:58 - Bees 
22:59 - 29:28 - Keep It Healthy 
29:29 - 34:25 - Melting


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## SanAntone (May 10, 2020)

*Louise Sheene - Taking Shots *

Louise Sheene brings a creative infectious jam that will keep you moving on the new song “Taking Shots”. The Afrobeat touch to the sound sets a masterful tone for this party brought to life, with each groove working like magic to make something danceable. Being able to shine through the music Louise’s unique tone makes her a true stand out with, such presence and charisma that makes the fun in the writing come to life to make us all enjoy the incredible experience of music. (*global money world*)


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## SanAntone (May 10, 2020)

*Madison Cunningham: Revealer*






This is a really good album. Only 25, Madison Cunningham is bursting with talent. Cunningham's most striking gift is as a guitarist, wielding her beloved Fender Jazzmaster, but she's an expressive singer and writes complex—and catchy—songs. She's been nominated for Best Album Grammys in both Americana and folk. I'd call her a kickass rocker at heart, though she's capable of exploring stiller waters. (*stereophile*)


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## SanAntone (May 10, 2020)

*Magdalena Bay - All You Do *(Official Video)






I like the creative harmonic progression, the sound of the bass, and the structure, of this very good pop song. Overall the production is really well done.


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## SanAntone (May 10, 2020)

*Red Hot Chili Peppers’ | *_*Return of the Dream Canteen*_

Red Hot Chili Peppers’ Return of the Dream Canteen arrives at a wild time for the California foursome. The punk-funk, alt-rock legends reunited with John Frusciante in 2019, recorded and released Unlimited Love (their first album since 2016), and subsequently went on to conquer the world with their larger-than-life stadium tour. And they must have been pretty damn rejuvenated, because now comes Return of the Dream Canteen, their second album in less than five months. Like its predecessor, it comes in at a whopping 17 songs, totaling an hour and fifteen minutes of music. (*consequence*)


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## SanAntone (May 10, 2020)

*Room for the Moon by KATE NV*
Kate NV’s third solo studio LP, _Room for the Moon_, dropped in June 2020 and was — in this writer’s opinion — one of the best albums to arrive during the first year of COVID lockdown. She could have easily let the album stand alone is a dazzling art-pop achievement, but instead, she’s kept its track list alive by releasing a series of endearingly bizarre music videos, as well as putting out an instrumental version of the record this past September. Jennifer Juniper Stratford’s treatment for “Ça Commence Par” marks the sixth song from _Room for the Moon_ to be set to film, leaving only four tracks on the project unvisualized. (*fader*)


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## SanAntone (May 10, 2020)

*Enumclaw: Save the Baby*
Enumclaw’s full-length debut Save the Baby (Oct. 14, Luminelle Recordings) is born, showing a clear growth from the charming roughness of Jimbo Demo. There’s still the grungy scrappiness that will never go away, keeping in theme with the band’s humble beginnings as a group forged by YouTube tutorials and elbow grease. Lead single “Jimmy Neutron” opens with the band’s jovial chatter. From there, Gipson’s drums usher in Johnson and Cornell’s dreamy guitars. The difference in production quality is immediately noticeable. There is a depth and atmosphere to the song, indicative less of a sacrifice in their lo-fi aesthetics and more of the resources that give the band a chance to shine brightest. (_Jade Gomez_, paste)


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## SanAntone (May 10, 2020)

*Wild Pink: ILYSM*
Singer and songwriter *John Ross* sounds reborn on _ILYSM_, Wild Pink’s follow-up to their 2021 breakout _A Billion Little Lights_. In a way, he was: Ross had already started writing the band’s fourth album when he was diagnosed with cancer, a battle that threatened to derail the LP, only to instead infuse it with urgent purpose. Ross pushed forward through the dark alongside a community of collaborators, co-producing the record with *Justin Pizzoferrato* (Pixies, Body/Head, Speedy Ortiz) and *Peter Silberman* of The Antlers, and enlisting contributions from J Mascis (“See You Better Now”), Julien Baker (“Hold My Hand”), Ryley Walker, Yasmin Williams, Samantha Crain and Ratboys’ Julia Steiner. (_Scott Russell_, paste)






I get a real Tom Petty vibe throughout this track - but it's cool.


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## SanAntone (May 10, 2020)

*Angel Olsen - All The Good Times*

Angel Olsen is an American singer-songwriter and musician from St. Louis, Missouri who lives in Asheville, North Carolina.

To date, Olsen has released six studio albums: _Half Way Home_ (2012), _Burn Your Fire for No Witness_ (2014), _My Woman_ (2016), _All Mirrors_ (2019), _Whole New Mess_ (2020), and _Big Time_ (2022).






Her early stuff was more punk influenced, but her latest stuff is more countryfied. Someone to watch.


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## SanAntone (May 10, 2020)

*Boston Manor *aren’t ones to linger in place for very long; from their pop-punk debut, to the frazzled, experimental alt-rock of 2020’s _GLUE_, Boston Manor are constantly evolving. New album _Datura _aims to take the band in yet another bold new direction, an ambitious dual-part journey into the depths of twilight. Set for release in two parts, part one already hints at this being the group’s most assured release yet. The sonic embodiment of a late night drive, _Datura_ bottles up the glow of amber street lamps and the strange liminality of dusk – and the results are sharp, woozy and hypnotic.

From the off, _Datura_ is drenched in atmosphere. Titular opener "Datura (Dusk)" thrums with warmth, *Henry Cox*’s gentle vocals sinking you into the album’s world. Pensive and slow, the track slowly sets the scene, vignettes of life carving out something familiar yet twisted. The spellbinding "Shelter from the rain" is also an undeniable stand-out in terms of atmosphere, however; the track is the height of immersion, planting your body on the cold seat of a bus shelter at midnight, curious, naive and reflective. (clash music)


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## SanAntone (May 10, 2020)

*Carly Rae Jepsen*

Her new album, _The Loneliest Time_, is the result of that same torturous process: Producers and co-songwriters came and went, and well over 100 songs were written and discarded before *Jepsen* settled on these 13. The songs are still undeniable, theatrical, occasionally spectacular. What’s new is the range. The singles Jepsen released in advance of the album — the gentle and ultra-Californian “Western Wind,” the campy “Beach House,” the more familiarly club-oriented “Talking To Yourself,” and the fantastically starry-eyed, Rufus Wainwright-featuring title track — picked apart one massive idea from completely different angles with completely different sounds. Written and recorded, inevitably, through the pandemic, Jepsen’s sixth studio album is about loneliness in all its forms: its highs and lows, the euphoria and boredom and stupid compulsions it inspires. And here, in ways she hasn’t really before, she’s expanded her sound to accommodate those contradictions. (fader)


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## SanAntone (May 10, 2020)

*Lucrecia Dalt | ¡Ay!*

Lucrecia Dalt is gleefully cerebral. Over the last decade, the Colombian artist has used her oblique experimental music to ponder metaphysical phenomena and the nature of human consciousness. Dalt has a fondness for philosophical contemplation, and concepts from her training as a geotechnical engineer often creep into her work. On her new album ¡Ay!, she reprises this erudite mode. This time around, the story centers on Preta, an extraterrestrial entity that arrives on our planet and confronts earthly conceptions of temporality, embodiment, and love for the first time. Across 10 tracks, Dalt sketches a sci-fi vision of bolero, son, and other classic genres she grew up with, traced with ambling congas, jazzy double bass, and quivering tides of distortion. Unspooling the rhythmic threads of these styles, she weaves them with strands of opacity and dissonance. Through it all, Dalt poses questions about the rhizomatic essence of time, skillfully using texture and acoustics to make good on the promise of narrative-driven experimental music. (pitchfork)

*Lucrecia Dalt - Atemporal*


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## SanAntone (May 10, 2020)

*Sent from my Telephone*
by VOICE ACTOR

Voice Actor's massive, utterly hypnotic, 109-track, three-and-a-half-hour-long dark horse AOTY contender _Sent From My Telephone_ feels like the kind of hidden gem that definitely would've been a modest blog hit back when people wrote about new music with genuine breathless excitement; it's a hazy, dreamlike union of a bunch of our favorite things -- '90s hip-hop sampling, Félicia Atkinson's hushed, mesmeric spoken word, Mica Levi + Tirzah's magical collaborative work, woozy trip-hop, eerie and obscure lo-fi folk, Dean Blunt, etc. -- that becomes more captivating, disorienting, and impossible to shake the deeper you get.


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## SanAntone (May 10, 2020)

*The 1975*
The lean and light _Being Funny in a Foreign Language_ might be the band’s least interesting album to think about, and their easiest to enjoy at face value






The singer who maybe once believed we could save the world by listening to the 1975 now just shrugs. “I’m sorry if you’re living and you’re 17,” he sings with no irony. This is the sound of a man in his 30s and out of love with the internet that made him famous. This is perhaps the symphonic sound of being tired.

It’s a standout opener. It also feels very 1975. Healy’s lyrics still read terribly on paper but make sense while singing (“I think I’ve got a boner, but I can’t really tell,” and “QAnon created a legitimate scene, but it was just some bloke in the Philippines.”) We also still have the lush musical flourishes that have been staples since their earliest EPs and the palette-cleansing instrumentals of every album. _On Being Funny in a Foreign Language_, the lyrics remain flippant. The instrumentals are gone. On the following 10 tracks, you can feel Antonoff taking over to guide the band’s more straightforward pop songs. (full review)


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## SanAntone (May 10, 2020)

I love this ...

*Dry Cleaning* – _Stumpwork_
Release Date: October 21, 2022

It is a shame that Dry Cleaning are so often talked about simply as a post-punk band – or even worse, lumped in with a ‘sprechgesang’ movement. They are a four-piece guitar act, and Florence Shaw’s performance drifts between singing and speaking, but that’s really where such comparisons should end. If nothing else, on their second album ‘Stumpwork’, Dry Cleaning prove they are unique.

If we are to approach the record in terms of basic genre descriptors, at different times the record recalls charming jangle pop (‘Gary Ashby’, ‘Kwenchy Kups’), woozy ambient (‘Anna Calls From The Arctic’), and slacker rock (the whacked out looseness of ‘Icebergs’’ and ‘Driver’s Story’’s is the antithesis of post-punk spikiness). The ambitious abstract noise that the band explored in an interlude for ‘Every Day Carry’, the closer of their debut album ‘New Long Leg’ is folded in to provide glue between the album’s extremes. (continue ...)


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## SanAntone (May 10, 2020)

*Future Crib*
OurVinyl presents Future Crib performing "Cherry" at Club Roar in Berry Hill, Nashville, TN.

A five-piece band of creatives based in Nashville, TN, Future Crib delivers dynamic performances that bounce between poppy make-you-wanna-dance tunes and experimental yet engaging tracks that prod at life’s shared realities. Prioritizing an emphasis on good songs and sounds over genre bounds and expectations, they’re never afraid to chase what’s musically exciting and bring surprises to their set. Over everything else, Future Crib seeks to create a space that’s fun and safe for everyone, so their shows bring that same sense of community and love of music present at those old house shows in your mom’s basement.






Johnny Hopson- Vocals, Guitar, Keyboards Bryce Dubray- Vocals, Guitar, Keyboards Julia Anderson- Vocals, Bass, Keyboards George Rezek- Vocals, Guitar Keyboards Noah Pope- Vocals, Drums Keyboards

I find it very exciting that this is happening in Berry Hill (an incorporated town within the Nashville city limits*) where I lived for 16 years. Back then it was a mixed neighborhood, mostly small businesses, many music related, and in our area not many residential homes. Since then it has steadily become a trendy area with more clubs and restaurants. Future Crib highlights the reality of the Nashville music scene that has flowered into genres with nothing to do with the country music market.

* when Nashville went to a metropolitan government, in the 1960s, some communities opted out and chose to retain their independent status. Berry Hill, although tiny, had its own police, public services, and city council/mayor, and a lower tax rate.


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## SanAntone (May 10, 2020)

*Moin* _Paste_

Post-rock, live dub and some increasingly threatening spoken word – it's all in the mix with the latest from Joe Andrews, Tom Halstead and Valentina Magaletti. (review).


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## SanAntone (May 10, 2020)

*Windser - "Paris"* (Official Video)






*Windser* is the new project from indie singer/songwriter *Jordan Topf.* After years of playing in and producing other bands, Topf took advantage of the isolation afforded by the pandemic, retreating back in time to his childhood in Santa Cruz for inspiration on his debut EP, _Where The Redwoods Meet The Sea_. The resulting effort is a collection filled with tender sun-lit beauty, effortless melodicism, and plaintive indie rock storytelling, capturing the nostalgic grace and longing ache of long-held memories. (review)


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## SanAntone (May 10, 2020)

_Still Life_, *Carson McHone*’s third album and first release with Merge Records, quivers like a tightrope, with songs about existing within the tension of the in between and surviving beyond the breaking point. These are stories of sabotage, confusion, and surrender. The album is a testament to the effort of reaching, sometimes flailing, for understanding and for balance. Still Life invites us to gasp at our own reflection and acknowledge the unsettling beauty in this breath.

McHone wrote the songs of _Still Life _in quiet moments between tours in her hometown of Austin, then recorded in Ontario with Canadian musician and producer *Daniel Romano*. Together in a home studio McHone and Romano cut almost the entire record themselves, calling on two friends, the versatile *Mark Lalama* on accordion, piano, and organ, and *David Nardi* with some savvy saxophone, to round it out. The phrasing and tones recall John Cale, The Kinks, Richard and Linda Thompson—like-minded artists of the late ’60s and early ’70s, another era of transition and innovation. (Merge Records)


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## SanAntone (May 10, 2020)

Three years ago, *Yuga Cohler* and Y*ohan Lenox* were preparing their most ambitious project yet. The two friends had spent most of their young careers trying to bridge the gap between pop and classical music, collaborating on the Kanye West/Beethoven live mashup project _Yeethoven_, and then an “orchestral exploration of K-pop” that brought in Lincoln Center’s youngest ever crowd. Now, Cohler and Lenox had been introduced to a formidable new collaborator, the composer *Ellen Reid*, and they were proposing something riskier, offering pop and avant-garde musicians the opportunity to write orchestral music for the first time. 

The result is *isomonstrosity*, a nebulous project centered around Cohler, Lenox, and Reid, and their debut self-titled album, out now, is truly weird. On first listen, guest spots from Danny Brown, 645AR, Vic Mensa, and Empress Of stick out over the discordant strings and frightening glitches. It’s only after sitting with _isomonstrosity_ for a few listens that the compositional oddness reveals itself.

*isomonstrosity, 645AR, Johan Lenox - careful what you wish for ft. Danny Brown*






The credits of the three principals in the group isomonstrosity are unassailable. Ellen Reid won the 2019 Pulitzer Prize for Music. Johan Lenox studied composition at the Yale School of Music then built a career as a go-to producer for iconic pop artists (ie 070 Shake, Travis Scott, Lil Nas X). Yuga Cohler is a Juilliard-trained conductor and an established software engineer.


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## SanAntone (May 10, 2020)

“We’re actually making an album!”, beams 11-year-old Antonia Cytrynowicz near the end of LIVE A LITTLE, sounding psyched and rightly proud — if a bit incredulous, and with just a touch of tween defense mechanism sarcasm that I instantly recognize as the father of an 11-year-old girl — at the magic she and her accomplished collaborator Sam Gendel have just conjured. She proceeds to work out the song’s lyrics, melody, and tempo on the spot like a pro with Gendel, just as the duo did on the rest of the album, all fully improvised “one late summer afternoon" in Gendel’s Los Angeles home. The resulting collection of jazzy avant-pop songs is sweet and playful, heartfelt and real, an often haunting and always entrancing document that feels utterly unique and fleeting. (gorilla vs bear)

*SOMETHING REAL · Sam Gendel · Antonia Cytrynowicz · Sam Gendel*


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## SanAntone (May 10, 2020)

*Sabrina Teitelbaum* had no idea how angry she was before she began writing as _Blondshell_. An exercise in uninhibited creativity initiated during lockdown, the NYC-raised alt-rock artist suddenly found herself accessing all the ugly, inconvenient truths she’d suppressed in previous musical projects.

“Before that I had always thought I was being personal,” the 25-year-old singer-songwriter says of the transition today, speaking over Zoom from her apartment in LA. “But it takes a certain amount of confidence and desperation to write about really personal things. So I was like, these are just gonna be my diary songs that nobody’s gonna hear.” (read more)

*Blondshell - "Veronica Mars" (Official Video)*


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## SanAntone (May 10, 2020)

BIBI is precisely the sort of great act you can find once you go deep in the Korean music landscape. She has this mix between the ideal girl-next-door type and the I-don't-give-a-**** punk, mixing mainstream sounds with taboo narratives – in the context of a conservative society – around sex, violence and a woman with much to say. Before last year’s EP, _Life is a Bi…_ she was known through a series of groundbreaking singles in which the excesses of life was the main topic and her honeyed voice intrigued everyone. With this new release plays again with the sounds she just wants without giving much explanation.

_Lowlife Princess: Noir_ is her official full album debut. A dystopian project where the music takes you from old Korean tales to a cyberpunk future in which violence and death are the norm. ‘Intro’ captures this essence perfectly, through a mix of repetitive phrases, electronic sounds, and out and out chaos, with bits of music box-like strings and traditional Asian wind instruments. It also sets the tone for the melodic side of the whole project. You will hear many of these leitmotivs in almost every song. (read more)

*Wet Nightmare*





*Lowlife Princess*


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## SanAntone (May 10, 2020)

*Cola : Deep In View*






Ought’s Tim Darcy and Ben Stidworthy unite with drummer Evan Cartwright as the skeletal post-punk trio Cola. Streamlining the sound of their previous band while maintaining a poetic approach to lyricism, their songs are stripped to the bare essentials, allowing Darcy’s charismatic spoken-sung drawl to ring out louder than ever.


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## SanAntone (May 10, 2020)

*Todd Rundgren : Space Force*






_Space Force_ arrives as a hybrid work: part Rundgren solo album, part Rundgren sitting in the producer's chair. Like on 2017's _White Knight_, he collaborates with a range of artists whose resumes are as long and as varied as his. Guests this time include members of *Cheap Trick*, *the Roots*, *Sparks* and *Weezer*, and they help Rundgren satisfy his boundless curiosity in the dozen new songs collected here. (Read More)


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## SanAntone (May 10, 2020)

*Weyes Blood : And In The Darkness, Hearts Aglow*






Following 2019’s superb _Titanic Rising_, a record that edged its inevitable late-twenties angst with glimpses of climate change, decaying late capitalism and “the end of monogamy”, And _In The Darkness, Hearts Aglow_ has been conceived as the second part of a trilogy, a bulletin from the eye of the post-pandemic storm. She states her position with surprising baldness. “I should’ve stayed/With my family,” she sings on the pessimistic The Worst Is Done, “I shouldn’t have stayed/In my little place/In the world’s loneliest city.” On Hearts Aglow, she admits: “I’ve been without friends/ I’ve just been working for years/And I stopped having fun.” Underneath the blissful vintage pop instrumentation, these songs vibrate with anxiety, with loneliness, with the fear of having no direction. Children Of The Empire – as close as she comes to the golden perfection of _Titanic Rising_’s Everyday – is about the strain of living in the final days of a waning superpower. “We don’t know where we’re going,” she sings on Hearts Aglow, a seasick Everybody Hurts steeped in teen-movie imagery of lovers on a pleasure-pier ferris wheel, the stakes dangerously high as they spin over dark water. (read more)


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## SanAntone (May 10, 2020)

*The War on Drugs : I Don’t Live Here Anymore*






The songs of the *War on Drugs* exist in a world between knuckle tattoos: love, hurt; home, away; dark, lght. They usually begin in medias res, with our hero, the tressy and lovelorn *Adam Granduciel*, wandering the empty plains of grief with a guitar strapped to his back. He’s down bad; he’s rudderless; he’s desperately trying to find his way out of the rain or pain or chains. Heartbreak is behind him but hope is always just ahead, a pin-light through the clouds in the shape of a mythological figure known only as “babe.” (read more)


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## SanAntone (May 10, 2020)

*brakence : hypochondriac*






*Brakence*’s songs surge with combative angst and agitate with electronic detail, never resolving to easy conclusions. “argyle,” the lead single from the 20-year-old singer-songwriter’s new album, hypochondriac, is indecisive, a spiraling emo-pop garden without a path. As brakence wrestles with dissatisfaction at his music career (“I was tryna make a living/Well, I did, and now I don’t wanna live at all”), his drums feel just as speculative, wandering between careful, metallic snares and clipped scratches. (read more)


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## SanAntone (May 10, 2020)

*Tomberlin: i don’t know who needs to hear this…*






In recent years, there’s been an influx of musicians embracing minimalism. Often, the lack of excess can lead to these songs being dismissively tagged as “sad,” particularly if the artist dares to fill that space with any emotion at all. One of the finest practitioners of this sparse musicality is Sarah Beth Tomberlin, who performs under her surname.


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