Puberty 2 opens with “Happy.” Against delicate, intricate music, Mitski sings, eerie and ethereal. Initially, the lyrics seem settled in the mundane: “Happy came to visit me, he bought cookies on the way/ I poured him tea and he told me it’ll all be okay.” If it’s the contrast between the spooky and the plain that initially grabs the attention, the track insinuates itself further with its lurking abstractions, led by the anthropomorphizing of a highly coveted emotion. The music introduces itself as fairly standard aching indie rock. Then it drills to a deeper level. The fourth full-length from Mitski Miyawaki, … Continue reading The New Releases Shelf: Puberty 2

To Paul Simon’s credit, he knows what he’s up against. The singer-songwriter with decades of fame in his rearview recently told Rolling Stone, “To get people to listen with open ears, you have to really make something that is interesting because people are prepared for it not to be interesting.” Comfortably into his seventies and already the multiple recipient of the sorts of lifetime achievement awards that imply creative ossification, Simon can either approach a new album as a listless valediction or a chance to prove something. On Stranger to Stranger, he opts for the latter. Striving for the new doesn’t … Continue reading The New Releases Shelf: Stranger to Stranger

As the recording industry continues to get hacked into splinters by a rapidly changing media environment the powers that be resolutely refuse to understand, it’s reassuring to discover that an album can still arrive and truly, deeply matter. Granted, it would be myopic understatement to term Beyoncé’s Lemonade as simply an album. It is a full-on cross-media event, complete with an HBO special, an enormous world tour, and an expertly catalyzed supporting campaign of gossipy chatter and rash reaction think pieces. Delivered as a surprise, as Beyoncé is wont to do, the album is cunningly designed to capture attention, filled as it … Continue reading The New Releases Shelf: Lemonade

It probably makes sense that Polly Jean Harvey has reach the point of full-on art installation, like Björk at MOMA. Disastrous as that particular exhibition may have been, it was indicative of a certain truth in the notion that the Icelandic performer in her overt and unyielding multifaceted creativity had reached the point where the standard progression of record and tour followed by another record and another no longer seemed sufficient. Similarly, when Harvey released the exemplary, transcendent Let England Shake, it really did seem that she’d come to a creative endpoint, exhausting all the possibilities of the album format. And … Continue reading The New Releases Shelf: The Hope Six Demolition Project

On Silver Age, Bob Mould reclaimed his history after several years that could reasonably be characterized as messy (which doesn’t mean altogether bad, but his explorations sometimes verged on aimlessness). He followed that with Beauty & Ruin, expanding the scope of his productively nostalgic creativity to deliver music that sounded like every skipped stone ripple of his career gathered together to formulate something just new enough to turn heads anew. Now we come to Patch the Sky, which feels like the end of a trilogy. This time, Mould is settling into a comfortable mode, or as comfortable of a mode as his somewhat … Continue reading The New Releases Shelf: Patch the Sky

Operating with the mixed blessing of a highly distinctive voice — in every sense of that word — Thao Nguyen could presumably get along all right taking an easier, less deliberatively disruptive course. She could probably make a string of records laden with relatively straightforward, folk-tinged rock songs and keep herself and her band, the Get Down Stay Down, in regular music biz work for some time. Instead, she ties composition into tricky knots, constantly seeking the challenging dynamic, as if enough effort in that direction will finally create the song that can surprise her in midstream. As a listener, it’s … Continue reading The New Releases Shelf: A Man Alive

I adore the way Leave Me Alone, the debut album from Hinds, shuffles to life with a distinct slacker ease, as if it’s trying to establish a code of ripe sonic lassitude. Album opener “Garden” recalls some of the hollowed out retro rock of the Best Coast brigade from a couple years back, but with an added distancing from the rigidity of popcraft. With its trudging backbeat, rickety anti-harmonies, and guitar lines that sound like they’re being played by arms collapsing out of exhaustion, “Garden” is a call to arms from a band choosing not to raise their voice too … Continue reading The New Releases Shelf: Leave Me Alone

(photo source) I really liked Visions, the album released by Grimes in 2012. But I also found it to be a little uneven, prone to digressions that didn’t quite spin into full-fledged, satisfying tracks. Peaks and valleys are to be expected (and the peaks were absolutely glorious), but it’s nice when the valleys are worth strolling through, too. Still, every indication was there that Grimes was poised to make an album that could be deemed great without reservation. All she needed to do was take another artistic step forward. Turns out that step I hoped for is more of a … Continue reading The New Releases Shelf: Art Angels