Green Day’s “Saviors” ****1/2

I would prefer to not think of Green Day’s 2020 album, “Father of All…” as a colossal, utterly baffling misstep. Sure, the band was also working on fumes on the awkward, repetitive, oddly-compressed, 2016 effort, “Revolution Radio,” but I have a weird theory about their last record. At a mere 26 minutes, “Father of All…” was (I believe to be) the last album in Green Day’s contract with Reprise. Often confounding and sometimes obnoxious, the album read to me like a middle finger goodbye to wrap up a contract. Then again, I might be wrong.

 Each of these two records had their standouts. “Revolution Radio” at least ended with the wonderfully uncharacteristically sweet, “Ordinary World.”  (The version without Miranda Lambert.) “Father of All…” had “Junkies on a High,” which although it sounded like a retread of “Boulevard of Broken Dreams,” still had a kick. The reason I think that the latter record might have been a purposeful gutterball is due to the fact that the project before these two albums (the trilogy of “Uno!” “Dos!” and “Tre!”) apparently only supposedly counted as one album on their contract with Reprise, in spite of actually being three albums with 37 songs total. Some might say the band went wrong there, as well. I would disagree. I really like the trilogy and have long viewed (no pun intended) it as a massively misunderstood offering that might have gotten its proper, well-deserved due if it had been instead delivered as ONE release, consisting of two hour-long discs in the mold of Smashing Pumpkins’ “Mellon Collie and the Infinite Sadness.” Listen to the trilogy again. It has a lot of hidden gems.

 While the band is still on Reprise now, it seems that they are using their longtime label merely as a distributor, similar to the way latter-day Weezer is currently using the major-label system. Does this seem to affect their fourteenth album, “Saviors?” My god, does it ever! The results sound like a liberated, awakened band, maintaining their stature while still possessing an undercurrent of freedom. If there was more than a whif of disengagement on the last two records, they are committed to their mission once more.

 “Saviors” is easily, the most confident, easily digestible offering Green Day has delivered since their 2004 mega-opus “American Idiot.” While opener, “The American Dream is Killing Me,” sounds a bit like a callback to the former album’s title-track, it makes perfect sense as we live in a similarly polarizing political environment. While “American Idiot” worried about the dangers of the jingoistic war-time ethos of George W. Bush’s presidency in a post-9/11 world, more subtly, “Saviors” (in scattered places) sounds like the product of the moment, as we live in a time where science and actual facts are questioned and we brace for the unsettling possibility of incoming fascism. “Look Ma, No Brains!” may at first sound like the kind of teenage rebellion music Green Day have been making for more than thirty years, but upon deeper listen, it is easily a slap at people who thrive on modern idiocy, living in their own misinformed bubbles. Similarly, “Strange Days Are Here to Stay,” defies its sugary, rousing melody by thoroughly describing a deep dystopia. This contrast is nothing new for Green Day. They have long thrived packing dark tales and truths into bright, shiny packages. When Billie Joe Armstrong sings, “Ever since Bowie died, it hasn’t been the same,” it hits hard. The same can be said for “Living in the ‘20s,” which is equally anthemic and cuttingly disheartening.

 Even if you don’t connect with the album’s visceral political messaging, this is at its core, one of Green Day’s best and most earworm-heavy records to date. Now in their fifties, they are delivering something that could easily go hand-in-hand next to classics like “Kerplunk,” “Dookie,” “Insomniac,” “Nimrod” and “Warning.”  The “Nimrod” comparison seems especially on point, due to this set’s range and melodic elasticity.

 “Bobby Sox” sounds like an all-time, rage-along classic and yet the manner in which the lyrics play with concepts of gender and with love and friendship seems lovingly of the moment.

“Goodnight Adeline,” is a punchy power-ballad that works in a similar, arguably more successful vein than previous hit, “21 Guns,” while “Corvette Summer,” with its by-the-numbers lyrics of “Get around. / I can get around. /Drop a bomb on my rock and roll,” still succeeds thanks to its catchy melody and the fact that it seems to winkingly know that it is a stupid rock song…and owns it.

 The brutally honest falling off the wagon tale of “Dilemma,” compels with its lack of irony, while also recalling the pop mastery of “Redundant,” while “Suzie Chapstick” is downright beguiling and impressively dense, recalling what secretly may be the band’s best song to date, “Whatsername.” If pushed, sometimes the songs here aren’t as simple as they appear.   

 “Father to a Son,” is jarringly beautiful, In lesser hands it would run the risk of sounding saccharine.

 With a few tweaks, you could imagine the title-track not sounding out of place on Oasis’ “Definitely Maybe.” Even if the lyrics take the concept, too far, this kind of grandiose overstepping sounds purposeful, as if it is delivered with a strong nudge.

 A lot has been written and spoken about how the guitar riff in the single, “One Eyed Bastard” sounds like P!nk’s “So What,” and to that I say, yes, they both are working with a similar blues-based down-turning shuffle but P!nk was definitely not the first person to do that. Riffs like that probably go back to the foundation of the blues. Some have often criticized the band for their perceived borrowing of melodic ideas. In places, “One Eyed Bastard,” also vaguely sounds like Iggy Pop’s “The Passenger,” as well. Frankly, so do a lot of other songs. Crafting earworm pop songs is a delicate art. Some may argue that the fact that the title-track to “Warning” sounds a lot like the Kinks’ “Picture Book,” or that section of “Jesus of Suburbia” sounds a lot like Bryan Adams’ “Summer of ’69.” While this is true, these songs should be allowed to exist on their own as close cousins but not overt copies. In the years since the atrocious “Blurred Lines” case, which incorrectly confused influence with theft, the industry has been obsessed with the concept of “interpolation.” (This is why for instance, Billy Joel gets a piece of Weezer’s “Beginning of the End,” because a section of it kind of [ just barely] sounds like “For the Longest Time.”) This kind of thinking is litigious thinking is dangerous for any music creation and could eventually mean the end of art. If you only have twelve notes, people are bound to come up with similar patterns, especially when they are trying to stick to the boundaries of cultural acceptance. Odds are, also, the one who will get credit, inevitably borrowed elements from someone else. Art is a continuum and that progression doesn’t happen without some (sometimes liberal) borrowing. The modern concept of “interpolation” is often heavy-handed and toxic, when it should be used to deal with flat-out quotes. Green Day’s strength has always been in molding something new out of elements that are extremely familiar. It is a tight rope to walk, and for the most part, they do it right. That being said, with the notions of nuance slowly fading, this can be an increasingly difficult point to comprehend.

 But… I digress…

 Going back to the record, itself, by the time you reach the final track, “Fancy Sauce,” it sounds epic! It is as if the band is delivering a near-perfect summary of their career so far. Everything that makes Green Day fantastic is in this song. As punks who were always too pop-fueled to be accepted by the grittier aesthetic lords of the genre, they should be actually be embraced more as kings of power-pop.

 When I first saw the album cover to “Saviors,” and learned that it was a photo from the Troubles in Ireland, originally taken by Chris Steele-Perkins, I was initially turned off that the band chose to edit the subject, Paul Kennedy’s face into a smirking smile. After listening to this record, the use of this image no longer comes off as the oblivious cultural recontextualizing that it initially seemed. Instead, it really works and speaks to our times. When you have a burning pile of trash in back of you and you are perhaps dodging cars, what can you do but perhaps grab a rock to throw, hope it makes a difference and smirk and shrug your way along until things improve? Consider “Saviors” to be Green Day’s effectively tossed rock.   

 Like Foo Fighters and Rancid did on their recent, respective albums, “So Here We Are” and “Tomorrow Never Comes,” on “Saviors,” Green Day strip back down to their essence and reclaim their place. Now that this exists, those last two records will probably only get better because we now will see them as passing, fascinating pit-stops rather than the final destination.

 “Saviors” is a bold, effective, strongly pivoting restatement of purpose and a welcome return. It is packed with hits and packed with potential. It is a record that should not be ignored or forgotten.  It easily belongs with “Dookie” and “American Idiot,” in the highest tier of their work.

ALLAN RAIBLE’S PICKS: The 50 Best Albums of 2023

It has been another stellar year for music. (Anyone who says otherwise is either lying or willfully not paying attention.)

A few key notes before the actual list.

There were serveral albums that didn’t make the list that are still quite good. Wilco, Killer Mike and Depeche Mode all released great work this year that just barely missed the cut.

Billie Eilish’s “What Was I Made For?” from the “Barbie” movie is probably the single most striking song of the year. Beautiful, tender, poignant and important. That song is a stunning piece of work and Billie and Fineas continue to impress me. I almost put the soundtrack on this list but there were a few tracks that kept it from contention, quality-wise. (It’s a soundtrack… Those can be uneven… What can you do?)

Album cover detail - “Little Simz “No Thank You.”

It is always a pet peeve of mine that so many of these lists seem to come out in November. I usually try to push my lists to the last possible minute. (This year, especially… Sorry. I’ve been busy.) If you were familiar with the lists I wrote for ABC, I missed a record last year that was being released just at the moment I handed in my list. That record was “No Thank You,” by Little Simz. I debated putting it on this year’s list since it was released digitally last December and the physical version dropped in 2023, but I didn’t want to be like those other publications who missed SZA’s album, “S.O.S.” last year because they rushed things…and then decided to put it near the top of their lists this year… So, Little Simz now gets her own shout-out. An excellent British MC whose music you should know! Seriously… Once you finish this list, go listen to her song, “Gorilla.”

Album cover detail. Taylor Swift - “1989” (Taylor’s Version)

Also, can we please take a moment to appreciate what Taylor Swift has done for the music industry this year? I realize that there is no shortage of praise for her, since she is Time’s “Person of the Year,” but in a moment when actual sales are dwindling and streaming has become king, she is actually making records that engage (and grow) her audience. I will admit that I liked “1989” when it came out in 2014, but I didn’t truly connect with it. (I now appreciate what Taylor is doing a lot more! The turning point for me was the album, “Lover.”) I am thankful that it took me a while to appreciate “1989” to its fullest… Why do I say this?? I am thankful for the “Taylor’s Version” expanded editions. I know, here and there, there are some nitpicker, audiophile complaints by some about the new version of “1989,” but honestly, by reclaiming her own work, Swift is getting a chance to present these records again in mightier, expanded forms, utilizing everything she has learned from playing many of these songs over, and over and over, again. For thaat reason, the “Taylor’s Version” editions are the superior way to hear these records.

Another thing we can add to Swift’s posiitve achievements is that she keeps expanding her albums, debunking the industry’s collective (wrong) notion that people don’t have long enough attention spans to appreciate albums from start to finish.

(No… (insert music streaming service name) … Artists should be releasing albums and NOT singles… In the song run, singles get lost (literaly) in the shuffle! But… I digress..)

Sure, the old fart in me could blame meme culture or TikTok for this myth of shortening attention spans, but ultimately, when it comes to releasing shorter albums, somewhere along the line, someone in the industry determined it was better for the bottom line for artists to release two 35-minute albums instead of one that spans 70 minutes. Swift, is (thankfully) not of this mindset. She is someone who has stated she wants to release as much music as possible. More artists should have that approach. That being said, she is in rariftied air. Swift, Adele and Beyoncé all actually sell records and are still able to convince their fans to commit to an album experience. If the album as a medium is vanishing or lessening in its clout, it is due to lack of artistic and creative focus within the industry. Decades ago, the industry used to stand by artists and help them develop focused, cohesive creations. If we returned to this mindset, the notion of the “album artist” would come back and be given more respect.

Swift, by her nature, is an “album artist.” For her, it is all about the journey. (That is essentially the idea behind the “Eras Tour.” She is somehow working the system in the old way when all the barriers have been seemingly put up to discourage such operation. Her secret is connection. (It also doesn’t hurt that over time, her albums and her output only are getting better and better…)

If you are reading this and are discouraged about the future of music… don’t be.

I’m about to give you a list of 50 albums worth your time and energy. LISTEN TO THEM! Drop any preconceived notions and just listen. Not just the “hits.” Listen to the “deep cuts,” as well. In all of my time listening to the radio and hearing what “singles” get promoted the most, the logic behind everything involved doesn’t always seem to make sense. There are a lot of songs should be promoted as potential hits that aren’t for one reason or another. Also, as a musician, myself, I know that when you aim to make a “hit single,” you are probably going to miss the mark. The best music tends to come with the most open outlook. Too often, when people think of “singles” today, they think of stale formulas. In other words… the best “hits” tend to happen by accident.

So… Buckle up and be prepared to be entertained!

Here are my picks for the 50 BEST ALBUMS OF 2023!

Album cover detail. The Rolling Stones - “Hackney Diamonds”

50. THE ROLLING STONES – “Hackney Diamonds”  In the calendar year when both Mick Jagger and Keith Richards celebrated their 80th birthdays, the Stones dropped their best album in a very long time. Granted, their last collection of new material was “A Bigger Bang,” way back in 2005 and 2016’s excellent “Blue & Lonesome” was a covers album.

Charlie Watts is no longer with us, but he still manages to appear on two tracks here. One of which is ”Live By the Sword,” which also features original bassist, Bill Wyman and piano playing by Elton John, who actually appears twice on the record. Paul McCartney plays bass on “Bite My Head off,” (Mick actually shouts at one point, “Come on, Paul! Let’s hear some bass!” Hahaha.) while the expansive “Sweet Sounds of Heaven,” somehow features both Lady Gaga and Stevie Wonder.

The album opens with the one-two punch of “Angry” and “Get Close.” Is that autotune on Mick’s voice? Maybe. It is 2023 and this sounds like a 2023 album. Many of these songs somehow sound like well-worn Stones classics, already. While the lyrics throughout are far from groundbreaking… (obvious may be Jagger’s lyrical lane at this point) there is thankfully nothing here quite as overtly lyrically embarrassing as “Rain Fall Down,” from “A Bigger Bang.”  (“She cooked me up some eggs. / Then she made some tea. / Kissed me on the cheek / And I turned on her TV.” Oy!!!) This time, at least the more awkward lyrics are covered up by better tunes.

In comparison, on the whole, “Hackney Diamonds” sounds like a re-vitalized band with something more to prove.  It could be that losing Charlie woke them up. Hard to tell. Unsurprisingly, Steve Jordan does great work in Charlie’s place. Oh, and Keith gets to lead a song with the more than decent, “Tell Me Straight.” In all, “Hackney Diamonds” is indeed a welcome, surprise and a well-earned victory lap from one of rock’s greatest mainstays. 

Album cover detail: Lana Del Rey - “Did You Know There is a Tunnel Under Ocean Blvd?”

49. LANA DEL REY – “Did You Know There is a Tunnel Under Ocean Blvd?” Sure, Lana Del Rey is polarizing, but think about this. She is now nine albums deep into her career. (Ten if you count her spoken-word version of her book.) She released all of this in only 11 years! Also, she has crafted a unique sound that is completely her own. Sure, there are bits borrowed from Nancy Sinatra, Fiona Apple and some others, but her mixture is her own. She’s not a run-of-the-mill pop star by any means. What her detractors often miss is that she is singing in character. That disconnection, I think, tends to cause her trouble. Her discography tends to work in peaks and valleys, as well. “Did You Know There is a Tunnel Under Ocean Blvd?” follows 2019’s “NFR” as a true peak. A sprawling, cinematic offering full of orchestral flourishes and nods to light pop of the past.

“Sweet” might sound like it would belong in a vintage musical if it didn’t have lines like, “If you want some basic bitch go to the Beverly Center and find her.” “

A&W” is a wonderfully blunt, constantly winding song that makes the most of its seven minutes. (Does she sneeze at the 3:13 mark???) The fact that this song was a single is utterly daring!

This album, with its disconnected interludes plays like a random audio movie. (Yes, “Judah Smith Interlude,” I am looking at you as a WTF moment. Why???)

Mostly, this record (like many of her others) is telling a rich story. One of uncomfortable truths of the dark side behind setups that look glamorous at first glance. Lana Del Rey seems to wallow in the grotesque layer just below the shiny surface. That uncomfortable place makes her a difficult entertainer for some and a brilliant one for others. Across its 77 minutes, this record will have you swooning and squirming with equal measure.

Album cover detail. Miley Cyrus - “Endless Summer Vacation”

 48. MILEY CYRUS – “Endless Summer Vacation” (Deluxe Edition) Somewhere along the line, Miley Cyrus became a consistently great pop powerhouse. Her voice, with its disarmingly husky texture has become a well-honed instrument, able to handle rock, pop, country or blues with deceptive ease. When she sings, “I’m sorry that you are jaded,” on the second song from her eighth album, “Endless Summer Vacation,” you believe her grief. There’s a dense, new-wave sheen on the songs “Rose Colored Lenses” and the hit single, “Flowers.” She’s at home with just about sonic backdrop. Consider “You,” with its jazz piano chords, its slight country twang and its modern, hip-hop-referencing beat. She buries herself comfortably in the center of it all.

On “Thousand Miles,” she is paired with Brandi Carlile. On “Muddy Feet,” she’s with Sia. On “Used to be Young,” (added later on the deluxe edition) she sings a tender ballad about her very public youth.

“Handstand” appears to be a slick dance jam about acrobatic sex on a boat, complete with the wonderfully bizarre (spoken) opening line, “We met each other on the neon dinghy….” Er…. um… OK…

“Endless Summer Vacation” is an eclectic, entertaining (and occasionally bonkers) sonic ride.

Album cover detail. The Zombies “Different Game”

47. THE ZOMBIES – “Different Game” (Deluxe) Yes, this the classic British Invasion band and anchored by Rod Argent and Collin Blunstone from the band’s original lineup, they are delivering the goods almost sixty years after their debut. The title track to “Different Game,” has a kind of soulful depth that recalls Procol Herum’s “A Whiter Shade of Pale,” while “Rediscover,” sounds effectively like a nod to Brian Wilson. This is a blues-ier record than one would necessarily expect, but if you think about it, that aspect is probably heightened by modern production. Classics like “She’s Not There,” and even the psychedelic “Beachwood Park,” are rooted in blues. Conversely, you can imagine, if these songs had been recorded in the sixties, they would sound like they were cut from the same cloth as the band’s hits. For example, “You Could Be My Love,” is definitely a cousin both “This Will Be Our Year” and “Care of Cell 44.”

Even the album’s quieter moments like “The Sun Will Rise Again,” and “Love You While I Can,” effectively recall the past. Blunstone’s voice is a warm and bold and Argent’s organ and piano skills are as tight as ever.  In a year where we saw the “final” Beatles song and a new Rolling Stones album, it is nice to see the Zombies deliver their strongest album since their 2004 resurrection. The deluxe edition features four live tracks at the end of the album.

Album cover detail. Rancid - “Tomorrow Never Comes”

46. RANCID – “Tomorrow Never Comes” Clocking in at just under 29 minutes, Rancid’s tenth album, “Tomorrow Never Comes,” is a quick and brutal effort. With 16 tracks packed into that tight framework, it is constantly moving, from the insistence of the title-track to the hardcore punk workout of “Don’t Make Me Do It,” to the rallying crying energy of “When the Smoke Clears.”

“Devil in Disguise” is a deeply political, wary anthem wrapped in what sounds like something lifted from an old drinking song. “Magnificent Rogue,” “Hellbound Train” and “Hear Us Out,” are just several of the songs here that approach at a blistering pace, without apology.

Tim Armstrong’s rasp sounds better and carries more authority than ever and Lars Fredriksen is there to back him up with his own great bellow. This album was produced by Epitaph head and Bad Religion leader, Brett Gurewitz, delivering a mighty bit of punk that truly hits the spot.

Album cover detail. The Go! Team - “Get Up Sequences Part Two”

45. THE GO! TEAM – “Get Up Sequences Part Two” On their seventh album, experimental indie-rock and hip-hop outfit, The Go! Team creates a sequel to their 2021 album, which as you may have guessed was called, “Get Up Sequences Part One.”

If you are at all familiar with the Ian Parton-led group, all of the sonic elements that have made them stand out from the pack are still there. The lo-fi indie production, the chants that sound like a pep rally, the playful bits that sound like they are lifted from a cartoon from the early seventies and the forays into old-school hip-hop.

Rapper and drummer, Ninja brings the sonic napalm on “Divebomb,” while in contrast, “Stay and Ask Me in a Different Way,” sounds both a tad twee and boldly heartfelt. “Gemini” has a playful Tropical bounce while the Nitty Scott-feature on “Whamm-o,” automatically slams with authority. The Go! Team has long been known for effectively blending sonic elements you might think wouldn’t mix, making a powerful concoction in the process. if “Get Up Sequences Part Two” doesn’t move you, there is something wrong. This is a lot of fun.   

Album cover detail. Gorillas - “Cracker Island”

44. GORILLAZ – “Cracker Island” (Deluxe Edition) In a year where Damon Albarn re-teamed with his band Blur to release the comeback album, “The Ballad of Darren,” he also released the eighth Gorillaz album, “Cracker Island.” While the Gorillaz discography definitely has its peaks and valleys, “Cracker Island,” sounds playful and alive like the virtual band’s self-titled album and its follow-up, “Demon Days.”

The title-track features Thundercat, while “Oil,” features Stevie Nicks of all people! “New Gold,” pairs Tame Impala with the Pharcyde’s Bootie Brown with hypnotic results. Bad Bunny brings a modern Latin energy to “Tormenta,” while Beck effectively helps close off the traditional album on the soft, soothing “Possession Island.”

My one beef with this album is the fact that there are five bonus tracks on the deluxe version, which frankly, should have been on the standard album. Gorillaz albums are always like mixtapes thanks to their heavy reliance on an unpredictable roster of guests. This album plays much better as a slightly bonkers 53-minute offering than it does as a slimmed down 37-minute slice. This is especially true, when you consider, “Crocadillaz,” which features De La Soul and Dawn Penn, a notable track for featuring some of the last verses from the late Dave/Trugoy the Dove.

In all, what is striking about “Cracker Island,” as a whole is actually how much it achieves as an eclectic pop album. While this outfit used to be seen as a left-field experiment, somehow this set maintains the same approach, with a more mainstreamed sheen and without missing a creative step.

Album cover detail. The New Pornographers - “Continue as Guest”

43. THE NEW PORNOGRAPHERS – “Continue as Guest” The ninth album from this Canadian power-pop collective is notable for its wintery approach. Even at its most driving, it sounds modal in its attack, as if it is soundtracking an epic trudge through a blizzard and a cup of post-voyage cocoa by the fire.

As sunny as opener, “Really, Really Light” sounds, contrary to its title, it seems to pack a lot of heft. A.C. Newman and Neko Case are reliable as always, throughout, with great interplay on the jazzy, horn-assisted “Pontius Pilate’s Home Movies.” The jazzy undertones of the album combined with the band’s new reliance on occasionally icy synth beds make the title-track, “Marie and the Underseas” and “Cat and Mouse with the Light,” sound like there may be some Stereolab influence at play.

While this collection has a lower earworm ratio compared to most of the rest of the band’s discography, it feels like it going for something else entirely. It is just as notable for the focused, nearly meditative listen it delivers. “Continue as Guest” is uniquely welcoming.

Album cover detail. Hamish Hawk - “Angel Numbers”

42. HAMISH HAWK – “Angel Numbers” The fourth album from Edinburgh-based singer-songwriter, Hamish Hawk, “Angel Numbers,” is a delightful, insightful listen, packed with warmth.

Opening tracks “Once Upon an Acid Glance,” and “Think of Us Kissing” sound like the most literary come-ons this side of a Maxïmo Park record. “Elvis Look-alke Shadows” recalls Morrissey, sans the insufferable, problematic qualities. On the dramatic, theatrical duet, “Frontman,” with Anna B. Savage, Hawk has met his match. With biting lines like, “some ugly men think of themselves as gods” and “the cruelest child is the one with two names,” the track packs a quietly effective punch, even if Hawk’s veiled lyrical approach doesn’t make his targets immediately known.

It doesn’t get more lyrically visceral and pointed as it does on “Money.” “Bill” shows that Hawk can effectively soar with deceptive ease, while the title-track displays some rocky crunch as he spills out a laundry list of life’s milestones and disappointments. If you have never heard Hamish Hawk before, this album is a great place to start.

Album cover detail. Genevieve Stokes - “Catching Rabbits.”

41. GENEVIEVE STOKES – “Catching Rabbits” EP The six songs on Genevieve Stokes’ new EP, “Catching Rabbits” show her as an artist to watch. The bouncy, winning “Habits” would sit well between Billie Eilish and Olivia Rodrigo, while “You & Me” somehow is simultaneously warm and menacing. Her brand of alt-pop has an underlying, magnetic darkness. You half expect Tricky to show up and drop a verse. Yet, she can also deliver some sugary pop like, “Can I,” even if her voice sounds like it may be on the verge of crying.

The hushed ethereal whisper of both “Book of Memories” and “Mara” draws the listener further in while closer, “17” sounds so delicate that if you listen closely enough, you can hear the piano keys being pressed, even as the melody swells. The whole EP is only 20 minutes, but like “Swimming Lessons,” from 2021, it shows Stokes is probably just beginning to rise.

Album cover detail. Sufjan Stevens - “Javelin”

40. SUFJAN STEVENS – “Javelin” I’m not sure why this is, but Sufjan Stevens seems to make his best work when he is processing grief and trauma. Like 2015’s “Carrie & Lowell,” which was mostly about his troubled childhood and his mother, “Javelin,” finds him in an equally raw and tender place, processing the death of his partner, Evans Richardson.

Opener, “Goodbye Evergreen” goes suddenly from a tender send-off to something visceral, dissonant and pseudo-industrial, perhaps mirroring emotional turmoil.

Even at its most orchestral, this is a tender offering. The children’s choir heard throughout, adds a great touch to both “A Running Start” and “Will Anybody Love Me?” Stevens uses a striking, unusual vibrato on the prayer, “Everything that Rises,” while on “So You Are Tired,” he seemingly recounts a 14-year relationship with heartbreaking frankness. The eight-and-a-half-minute epic, “Shit Talk,” is much more gently cathartic than its title would lead you to believe. If “Javelin” as an album proves anything, it is that pain can be processed sometimes through art with beautiful results. Music is indeed healing.

Album cover detail. Margaret Glassy - “Echo the Diamond”

39. MARGARET GLASPY – “Echo the Diamond” Right from the opening notes of “Act Natural,” the first track on Margaret Glaspy’s third album, it is evident that she’s immediately commanding the room. Owing equal influence from blues, grunge and power-pop, Glaspy delivers a dynamic concoction, anchored by her unique vocal rasp. In 1996, “Get Back,” would have made her a superstar, while “Irish Goodbye,” “Memories” and the stupendous “Turn the Engine” show a more tender and traditional side.

“Hammer and the Nail” is sleek and jazzy, while the blistering, dirty punk of “Female Brain,” takes no prisoners and shakes the walls. “My Eyes” is excellently Beatle-y in its execution, sounding like a response to “Dear Prudence.”

Even when Glaspy turns down the volume a little, her guitar playing is still wonderfully authoritative in its attack. All throughout the album, she, along with bassist Chris Morrissey and the Bad Plus’ Dave King on drums, create a mighty spark. “Echo the Diamond” is over in a quick 35 minutes and change but it firmly leaves a mark.

Album cover detail. PJ Harvey - “I Inside the Old Year Dying”

38. PJ HARVEY – “I Inside the Old Year Dying” PJ Harvey’s tenth album is also her first in seven years. In the time between releases, she has been gradually dropping demos and b-sides from across her discography to fill out context for her past releases. Is “I Inside the Old Year Dying” an experimental, sometimes odd offering? Indeed, but that comes with the territory and “Lwonesome Tonight,” the title-track and “A Child’s Question, August” are all key highlights, making this her best album since 2007’s “White Chalk.”

Firmly experimental, this record still has plenty accessible moments. (Is that a sheep I hear in the distance on the beginning of “Seem an I,” before it blossoms into a slightly rustic blues?)  The adventurous nature of this record is an asset.

There might have been a time when Harvey would have delivered a single-worthy song like “The Nether-edge” with a dose of polish, but here it is peppered with fun glitchy sounds and a slight bit of tape-hiss echo. That being said, she has always been most comfortable covered in a layer of mystery. More than three decades into her career, PJ Harvey can still deliver, balancing both what the listeners expect and pleasantly surprising them with what they don’t.   

Album cover detail. Jenny Lewis - “Joy’All.”

37. JENNY LEWIS – “Joy’All” “Joy’All” is either Jenny Lewis’ fourth or fifth solo album if you count her record with the Watson Twins. It recalls the kind of country records that used to emerge out of the Laurel Canyon scene in the early-to-mid  seventies.

“Psychos,” the album’s opener, immediately recalls the likes of Joni Mitchell, Linda Ronstadt or Fleetwood Mac, albeit with a parental warning sticker. The title-track is some hippie-minded chill music while the humorous, “Puppy and a Truck,” seems to be actively trolling modern country radio. “Apples and Oranges” is a kiss-off to a lover who has been replaced, while “Giddy Up” is downright sultry in its execution.

Indeed, the former singer from Rilo Kiley seems firmly comfortable embracing herself, even if as she begins “Puppy and a Truck” with the line, “My forties are kicking my ass and handing them to me in a margarita glass.” This is confident, slightly sensually-charged adult music, from the slight funk of “Cherry Baby,” to the casually flirty “Balcony.”

“Chain of Tears,” ends the record on a key highpoint. This is a stellar collection. If it feels like something that may have been spinning on a turntable at a swingers party a generation or two ago, maybe that was the goal.

Album cover detail. Mammoth WVH - “Mammoth II”

36. MAMMOTH WVH – “Mammoth II” Wolfgang Van Halen’s second Mammoth WVH album continues where his 2021 debut left off. Does this sound like Van Halen? No. It is closer to sounding like “The Colour & the Shape” era Foo Fighters, with some added shredding and guitar solos to please the fans who value him for his family name.

Honestly, Wolfie continues here to show that he is an adept craftsman, putting together some tight, metal-infused alt-rock. “Right?” “Like a Pastime,” ”Another Celebration at the End of the World,” “Take a Bow” and “Erase Me,” are all key highlights. It does feel like the amount of shredding is increased on this rcollection. Also, keep in mind, on record, this is all played by Wolfgang. Not only is he a skilled guitarist but pay attention to the drumming, too, particularly on “Optimist.” (He learned well or inherited skills from both his father and his uncle!)

This is no sophomore slump. Quite bluntly, “Mammoth II,” effectively doubles down on the promise of Wolfgang Van Halen’s debut.

Album cover detail. Janelle Monáe - “The Age of Pleasure”

35. JANELLE MONAE – “The Age of Pleasure” In case the topless, mermaid cover isn’t a clue for you, “The Age of Pleasure,” is Janelle Monáe’s sexual awakening record. No longer a robot wearing a suit, Monáe is a now feeling charged up, coated in sultry reggae grooves.

From the Doechii-assisted, “Phenomenal,” to “Black Sugar Beach,” to “Lipstick Lover,” this album may lack subtlety but at the same time, this feels like a cathartic release for Monáe. This has been a long time coming and it offers a consistent groove.

Grace Jones spices up the interlude, “Oooh La La,” while Sister Nancy appears on “The French 75.” Nia Long and Amaarae assist on “The Rush.” Some Afrobeat even gets infused into the mix on “Know Better,” which features CKay with Seun Kuti and Egypt 80.

At under 32 minutes, this effort flies by quickly, but it is solid. This is a contender for the most celebratorily rndiest and spiciest record of the year, full of sex-positive anthems.

Album cover detail. Noel Gallagher’s High Flying Birds - “Council Skies.”

34. NOEL GALLAGHER’S HIGH FLYING BIRDS – “Council Skies” (Deluxe) If you are missing Oasis, rest assured that Noel Gallagher’s High Flying Birds can give you the same fix as his previous band, even if “Council Skies” is a mellow, lush, mature offering that blossoms with melancholic weight.

The opening three tracks, “I’m Not Giving Up Tonight,” “Pretty Boy,” and “Dead to the World,” are deeply packed and pensive. “Open the Door, See What You Find” is a breath of fresh air with its glowing strings and Christmas-esque bells. The title track hums and rings in your ears as it gives a minor key lift.

Throughout the set, Gallagher’s voice is frequently gentle in tone. Pop-craft-wise, he is still at his peak and yet we couldn’t be further from the raucous sounds of Oasis’ more rocking material. This sounds like his answer to R.E.M.’s “Automatic For the People” or Beck’s “Sea Change,” even if “Love is a Rich Man,” possesses some upbeat punch.

The deluxe edition comes with an expansive bonus disc of outtakes, instrumental versions, remixes and live performances, including a Radio 2 pensive take of “Live Forever.” Also included on the bonus disc are excellent covers of both John Lennon’s “Jealous Guy” and Bob Dylan’s “You Ain’t Goin’ Nowhere.”

Album cover detail. Kid Koala - “Creatures of the Late Afternoon”

33. KID KOALA – “Creatures of the Late Afternoon” Ever since he appeared in the nineties, Kid Koala has aimed to push turntablism to new levels. Just listen to the back-to-basics reinvention on 2012’s “12 Bit Blues,” or the chilled-out exercises on his two more production-based “Music to Draw To” albums for proof.

His latest collection, “Creatures of the Late Afternoon,” seems to act as a culminating mixture of the sample-fueled fun of his earliest classics like “Carpal Tunnel Syndrome” and “Your Mom’s Favorite DJ” with the more traditionally song-based sound of his later work. Here tracks like “Hear Now” and “1000 Towns” sit on the same album as playful experiments like the Radiohead-nodding “Robohotel 1” and “Robohotel 2.”

Turntablism as a genre doesn’t get its due for being as adventurous and thrilling as it is. From start to finish, this album is a whole lot of fun. Highlights include the jazzy “Dusk,” the slightly ominous, Western-sounding “Decades,” the lo-fi Farfisa funk of “Let’s Go!” and the Lealani-assisted “Things Are Gonna Change.”

This 20-track, 53-minute opus is a shapeshifting, inventive set that is surely to grab fans both new and old.

Album cover detail. Louise Post - “Sleepwalker”

32. LOUISE POST – “Sleepwalker” If you are expecting Louise Post’s solo debut to sound like her band Veruca Salt, you’ll only be partially right. Sure, lead single, “Guilty” and the song, “Killer” will scratch familiar itches. Elsewhere, it is pretty evident that Post has been also listening to the likes of Taylor Swift, Billie Eilish and Lana Del Rey.

“Secrets” and “Don’t Give Up” sound like Post’s answer to modern pop ballads. “All Messed Up” finds her almost singing in a rap flow over an ethereal groove, while “What About” is a quietly anthemic, whispery jam. What’s amazing is that Post never sounds like she is over-reaching. She’s an often unheralded nineties titan who here proves she can adapt to just about any backdrop. “Sleepwalker” goes many unexpected directions without disappointing.

Album cover detail. Belinda Carlisle - “Kismet”

31. BELINDA CARLISLE – “Kismet” EP Out of the blue, after a long absence, Belinda Carlisle has returned to her roots with the “Kismet” EP. All of the songs here were penned by Diane Warren and honestly, working together brings out the best in both of them.

Writing for Carlisle, Warren’s more cheeseball instincts are muted, partly probably because she knows, with her Go-Go’s and Germs (yes, look it up!) punk pedigree, Carlisle can really sell a driving pop song and make it sound cool. What we get here are five tracks that sound like they could’ve been on 1987’s “Heaven on Earth,” pushed through a 2023 filter.

Even the ballads “Deeper Into You” and “I Couldn’t Do That to Me” sound fitting without being saccharine. (Some may notice the presence of Autotune, but yes, this is a 2023 release…)

“Big Big Love” is a modern pop classic, as are both the heavily orchestral “Sanity” and the radically punchy, “If U Go.” At the end of these 18 minutes, you’ll probably wish that these two made a whole album together.

Even in its brevity, “Kismet” serves as a reminder of Carlisle’s gifts as a performer and an interpreter of Warren’s songs.

Album cover detail. Dominic Fike - “Sunburn”

30. DOMINIC FIKE – “Sunburn” One could argue that Dominic Fike offers up a perfect mix of old sonic templates and new ones. His tracks often have guitars but they are mixed with some pseudo-trap-influenced electro beats and occasionally some pitch-shifted vocals.

His second album, “Sunburn,” continues on the promise of his 2020 debut. It speaks volumes that many people probably first heard him covering Paul McCartney’s “The Kiss of Venus” on Paul’s “McCartney III Imagined” project. (If he’s OK with McCartney, that’s a real endorsement!) Others may know Fike for his role on HBO’s “Euphoria.”

On this record, he playfully interpolates Weezer’s “Undone – The Sweater Song” into standout, “Think Fast,” he maneuvers a slick Latin-tinged club groove on “Mona Lisa,” he offers up a soulful pop burner on “Dancing in the Courthouse,” he channels a cool, chilled hip-hop vibe on the title track and packs some smooth power in “Pasture Child,” which kind of sounds like it could have been on an early Jack Johnson record.

Fike obviously loves folk as much as he loves hip-hop. He's a pop star who still pays attention to the past, mining a wide range on influences into his records. The oddball tones and rhythms of “Mama’s Boy,” show that he isn’t afraid of a little weirdness. The mainstream probably needs his brand of disruption.

Album cover detail. Everything But the Girl - “Fuse”

29. EVERYTHING BUT THE GIRL – “Fuse” Everything But the Girl suddenly reappeared in 2023 with “Fuse,,” their first proper album since 1999’s “Temperamental.” It isn’t that Tracey Thorn and Ben Watt disappeared between releases, because they were each releasing solo records in the absence of the group.

“Fuse” sounds like it follows where their last album left off, mixing the organic songwriting that made them a cult favorite in the eighties with the chilled, house-flavored dance beats that made them an international smash in the nineties. The piano that starts off “Run a Red Light” sounds like it would go well on a latter-day Radiohead record, while opener, “Nothing Left to Lose” seems like a confident mission statement as the duo returns.

Thorn has always had a very rich vocal instrument, but with time, her voice has gained a richness and a raspy quality, giving her words even more of a brand of world-weary gravitas. When she sings the words to “When You Mess Up,” you know she has lived them, and yet there is still an airy, jazzy quality to the whole production, even when she disarmingly plays with vocal pitch-shifting.

Watt’s beats somehow mix lightness and depth. You can imagine “No One Knows We’re Dancing” playing in the background of the coolest chilled party you can imagine. There isn’t a weak song here in this dramatic, tight, ten-track set. “Interior Space” uses a vocal filter to create some effective sonic claustrophobia. “Time and Time Again” sounds like it has the potential to repeat the huge pop crossover of their massive hit, “Missing.”

In the end, 24 years later, Everything But the Girl” have returned with another deeply emotional chill-pop masterpiece.  

Album cover detail. Blink-182 “One More Time…”

28. BLINK-182 – “One More Time…” Blink-182’s ninth proper album (and tenth album, overall) finds Tom DeLonge returning to the band once again. As a fan of what Matt Skiba brought to the fold in DeLonge’s absence, particularly on their last album, “Nine,” do I wish they had kept Skiba and turned into a two-guitar, three vocalist quartet? Yes! (I know I’m in the minority.)

When the band reunited and returned for 2011’s “Neighborhoods,” it was just after drummer Travis Barker had survived a plane crash. Now, “One More Time..” comes after Mark Hoppus’ diagnosis and subsequent remission from stage 4 diffuse large B-cell lymphoma. (Tragedy keeps bringing these three back together.) This is why the emotional title track hits so hard with the lines, “Do I have to die to hear you miss me? / Do I have to die to hear you say goodbye?” (Heavy stuff for a band that usually deals in immature sex and fart jokes. Also, an interesting, perhaps purposeful deflection to have DeLonge sing these lines.) Also shocking that on this song, even Travis sings… a little. (This is the best example of a band making peace with themselves through song since Veruca Salt’s moving “Empty Bottle” in 2015.)

If that title track is too heavy for you, “Edging,” and “Dance with Me,” deliver the immature side of Blink you may have missed. Hoppus may be now in his fifties with the other two in their late forties, but there is something nice about the fact that in spite of all their real life, dramatic, adult struggles over the years, they remain in touch with their inner 12-year-olds.

“You Don’t Know What You’ve Got” shows some influence from the Cure, while “Blink Wave” has some “new wave” synths.  “Terrified” is a repurposed and re-worked leftover from the Box Car Racer days that fits in quite well with Blink’s current template.

As was the case with other recent releases from the band, there is a thick layer of autotune over most if not all of the vocals. This seems less pronounced when listening on a big stereo at a high volume. It also feels like this is done here, mostly for DeLonge, who sings a little differently than he used to, probably because he may have strained his voice with his previous approach.

Ultimately, this is a great Blink album in the way that it finds balance in the serious and the silly. (It recalls the band’s untitled album from 2003, that way.) It also shows that these three need to continue to make music together until it is no longer possible.  

Album cover detail. Slow Pulp - “Yard”

27. SLOW PULP – “Yard” On their second album, Madison Wisconsin rock band, Slow Pulp move over to the Epitaph subsidiary, Anti- and deliver the goods, combining grungy, folk and pop-punk elements with some lo-fi touches.

Anchored by Emily Massey’s often deadpan vocals, there is something truly infectious about standouts like “Doubt,” the piano-led title track, the raw, (shoegaze-y) “Cramps,” the oddly dreamy “Slugs,” the surprisingly twangy banjo and harmonica-accented “Broadview” and the brutally sonically-accented “Worm.”  

The way the band plays with tape manipulation and effects makes it this record sound home-made in the best and most creative way. It is as if a band was transported from smack dab in the middle of the nineties and were given more modern technology to bring everything up to date. 

At a quick half hour, this record demands relistening once it ends. If you like Bully, Soccer Mommy, or the rougher side of Waxahatchee, Slow Pulp should immediately be added to your radar. “Yard” is absolutely made for the big time.

Album cover detail. Ghost of Vroom - “Ghost of Vroom 3”

 26. GHOST OF VROOM – “Ghost of Vroom 3” Mike Doughty once again joins forces with Andrew “Scrap” Livingston on their third Ghost of Vroom offering and second full-length album.

The goal is to continue in the same vein as Doughty’s former band Soul Coughing. With Beastie Boys-producer Mario Caldato Jr. behind the boards, the results are awesome. “Still Getting it Done,” “Pay the Man” and “As the Kid Goes for Broke” all continue the thread quite excellently. I still don’t think Doughty gets the credit he deserves as a rap lyricist, but then again, his flow has always also screamed vintage Village “spoken-word,” as well. A modern beat-poet who was radicalized by A Tribe Called Quest’s “The Low End Theory.” Yet, he can also deliver something that sounds as melodically driven as “Yesterday in California” or bring the woozy space-age funk in “Your Bones in the Mud.” “

Slipping off Your Wrist” works with a constantly dancing groove If you like ramshackle music that fuses hip-hop attitude with an alt-rock aesthetic, this is your record!

Album cover detail. Was - “Magic 2”

25. NAS – “Magic 2” / “Magic 3” These second and third installments of his “Magic” trilogy are Nas’ sixteenth and seventeenth albums, respectively.

Nas is putting other verteran MC’s who are resting on their laurels to shame. He’s had a hell of a productive few years between these “Magic” albums and his “King’s Disease” series. He and Hit-Boy have really spun gold together. “Magic 2” dropped in July. “Magic 3” came in September in honor of Nas’ 50th birthday.

First, here are key highlights from “Magic 2.” “Abracadabra” and the 50 Cent-assisted “Office Hours” both bring some vintage boom-bap. “Motion” has a dope, propulsive energy. Both “Slow it Down” and “Pistols on Your Album Cover” sound gloriously effortless.

Album cover detail. Was - “Magic 3”

“Magic 3” begins with “Fever,” which is an authoritative celebration. The beat-switch on “Tsk” is sweet. “Superhero Status” possesses a Wu-Tang-worthy groove… although RZA probably would have made it sound a touch dustier… “Never Die” has Nas joined by Lil Wayne. Honestly, I could write about each of the 15 tracks here. This six album run that Nas has had of late has him reconnecting with with the same energy he had on “Illmatic,” thirty years ago.

He was always one of the greats but from 2020 onward, he has cemented himself as a rapper’s rapper. As someone who has always oozed charisma, he has become relaxed and even more confident with age.

Album cover detail. Helmet- “Left”

24. HELMET – “Left” Helmet’s ninth album is a blunt, lean and muscular offering. At a trim 31 minutes and change, it goes by in a flash, like a quick, metallic pummeling.

Opener, “Holiday” volleys from Page Hamilton’s serene sounding melodic vocals to hurled, growled insults. “NYC Tough Guy” plays like a thick, heavy, mesmerizing, tempo-shifting exercise, while “Make-Up” is actually disarmingly pretty at close listen, in a doomed, down-tuned sort of way.

This is the band’s first album in seven years and they sound as sharp and bristly as ever. The threatening tone of “Big Shot” sounds like a ball of testosterone (which I think sounds like it could be aimed towards a certain obnoxious, toxic former president) while “Bombastic” is the closest this band comes to an elastic-fueled slice of funk.

More than three decades after “Strap it on” and “Meantime,” it is nice to know that Hamilton’s approach hasn’t mellowed in the least. Even the album’s cheeky, jazzy instrumental closer, “Resolution,” somehow fits.

Album cover detail. Bethany Cosentino - “Natural Disaster”

23. BETHANY COSENTINO – “Natural Disaster” On her solo debut, Bethany Cosentino trades up the power-pop, garage rock and punk-pop aspects of her Best Coast records for a folkier, earthier sound. There is some Tom Petty and Fleetwood Mac influence here and there is a hell of a lot of Sheryl Crow’s essence here, as well.

This change fits Cosentino really well and “It’s Fine,” “Easy” and the title-track all show some fantastic maturity.

“My Own City” sparkles with a fresh sheen. “Real Life” moves with an earnest sense of truth as she grapples with an existential crisis. On “A Single Day,” her voice sounds world-weary as she ponders her torpedoing world over a cool slice of country-tinged pop.

This is essentially the singer-songwriter answer to the raw journal-entry-style lyricism that made Cosentino’s Best Coast work so compelling in the first place. I hope this isn’t the end of Best Coast and more of a fascinating pit-stop, but in the end, this is a dynamic record.

Album cover detail. Arlo Parks - “My Soft Machine”

22. ARLO PARKS – “My Soft Machine” (Deluxe) On her second album, British singer, Arlo Parks continues to create boundless pop built on trip-hop beats, hooks galore and intimate passages.

Right from the beginning, on the spoken-word bit, “Bruiseless,” she causes a wistful smile when she says, “The person I love is patient with me. / She’s feeding me cheese and I’m happy.” On “Devotion,” she offers up a slick love song, given extra power by a powerful bassline and some surprisingly grungy guitars.  On “Pegasus,” she pairs nicely with guest, Phoebe Bridgers, as they sing the lines, “I think you’re special cuz you told me.”

“Blades,” has a dreamy, retro, neon eighties roller-rink vibe. Parks effortlessly sings over the bluesy groove of “Purple Phase.” “Weightless” is silky and suits its name in the most glorious of ways. 

The deep narrative nature of her debut is still here, but there is something more lush about the approach this time around. A deluxe version of the record was dropped at the beginning of this month, tacking on some bonus tracks and alternate versions. Indeed, Arlo Parks continues to impress and stun. No sophomore slump here! 

Album cover detail. Kimbra - “A Reckoning” (Deluxe)

21. KIMBRA – “A Reckoning” (Deluxe)  To U.S. audiences, Kimbra is probably still most known as the female voice on Gotye’s smash hit, “Somebody that I Used to Know.” On her fourth record, the New Zealand singer delivers a smooth, moody, jazzy, utterly enthralling set.

From the first ominous bass notes of “Save Me,” she immediately grabs her listeners by the ears and demands to be heard. There’s a slight trap influence of “Gun,” “The Way We Were” has a bit of an Asian sound in its instrumentation and its booming bass during the verses, before it turns into a slow-burning club banger in the chorus. “New Habit” mixes a trippy beat with some vocal snippets.

Across this whole set, its sparse nature is a key asset. So many of these songs begin with impressive levels of open space, thus making the whole approach more impressive when the tracks eventually simmer and explode. Even a throbbing groove like “Replay!” makes use of this strategy.

The Ryan Lott-assisted piano ballad, “Foolish Thinking” is both intimate and alien-sounding. On “Personal Space,” Kimbra feels like she is creating an R&B-pop classic over an inside-out synth groove.

A deluxe version of the record with three more tracks was dropped at the end of the year. These songs fit the flow of the record well, especially the closing track, “The Robin.” At times, with her vocal skill, it seems as if Kimbra was born to be a jazz singer in the thirties or forties and was transported to modern times instead sing over sparse pop and electro grooves. Truly, an impressive talent.

Album cover detail. Boygenius- “The Album”

Album cover detail. Boygenius - “The Rest”

20. BOYGENIUS – “The Album”/ “The Rest” Supergroups rarely work out this well.

Boygenius’ proper debut more than delivers on the promise of the trio’s 2018 EP. Julien Baker, Lucy Dacus and Phoebe Bridgers are all stars in their own right and “The Album” plays like a curated, varied mixtape with each one of them taking turns.

Bridgers’ “Emily I’m Sorry” is a key highlight. The playful grunge-flavored romp, “Satanist” has all three of them trading verses before it explodes into dark mayhem and then recedes into something unsettlingly mellow.

There are also some beautifully quiet and intimate moments on the set. Closer, “Letter to an Old Poet” is Bridgers working to her expected wheelhouse, while opener, “Without You Without Them,” gracefully shows the audience how well these three can harmonize with one another.

The most revolutionary moments on the set, however, seem to be the ones where all three rock out. “$20” and “Anti-Curse” both hit apexes at their loudest moments. From start to finish, “The Album” is an epic listen.

“The Rest” is just four more tracks from the session, none of which sound like b-sides. Should this have been one 54 minute album instead of a 42 minute album and a 12 minute EP? Yes. In any case, even if you have to assemble this record yourself to make it complete, the whole two-part work offers up a good argument for this trio to continue making records together for years and decades to come.

Album cover detail. Seablite - “Lemon Lights”

19. SEABLITE – “Lemon Lights” Seablite are a San Francisco-based shoegaze band and one of the best modern, newer acts of the genre. “Lemon Lights” is their second full-length, following 2019’s excellent, “Grass Stains and Novocaine.” Leaders, Lauren Matsui and Galine Tamasyan know exactly what they are doing.

One listen to standouts “Hit the Wall,” “Melancholy Molly” or “Pot of Boiling Water,” and you’d swear this was straight out of early nineties England, not 2023 California. Everything about this presentation is perfect, from the imagery to the blurry vocal mixes and vacuum-toned guitars. “Monochrome Rainbow” and “Frozen Strawberries” are almost bits of sun-soaked pop, while “Blink Each Day” has some true urgency.

All 12 tracks here serve a key purpose. If you like the classic shoegaze sound, give “Lemon Lights” by Seablite a listen.

Album cover detail. Aesop Rock - “Integrated Tech Solutions”

 18. AESOP ROCK – “Integrated Tech Solutions” As you may have guessed from its name, Aesop Rock’s ninth album is a forward-thinking, intensely cerebral meditation on technology and where it is taking us.

“Mindful Solutionism,” the album’s first real track works as a thesis statement about humanity’s battle with technology. “If it’s out the bag than it’s out of the bag!” He raps as if he is warning us not to open Pandora’s Box. Synth-driven beats fuel this set and yet he still brings the boom-bap on “Kyanite Toothpick.”

He pauses with “100 Feet Tall,” to tell a story about seeing Mr. T at the Carnegie Deli back in the eighties. (Maybe this fits the narrative, though, since technology and our celebrity obsessions go hand-in-hand.)

“Aggressive Steven” tells an extensive story about a run-in with a naked, crazy man who had broken into his apartment. (Aesop Rock can definitely spin a yarn. If you remember, according to a study in 2014, it was determined that he was the rapper with the largest vocabulary in hip-hop.)

“All City Nerve Map” is more cryptic… but offers up some mesmerizing word salad.  

“On Failure” finds Aesop he goes off on a wonderful tangent about Van Gogh.

If you’ve ever liked an Aesop Rock record, “Integrated Tech Solutions” will be no different. If you have never heard one of his records, this is definitely a great place to start.

Album cover detail. Slowdive - “Everything is Alive” (CD Version)

17. SLOWDIVE – “Everything is Alive” After jumping back into action with 2017’s self-titled record, shoegaze/dream-pop gods, Slowdive return with what is their fifth album over a 31-year span.

This an airy, synth-heavy record, as it supposedly was first imagined as something for a Neil Halstead electronic side-project before it was fleshed out into an actual Slowdive record.

There are only eight songs here in just over forty-one minutes and “Prayer Remembered,” the second song, is an instrumental. Don’t worry. Halstead and Rachel Goswell get to trade off vocals with each other on the standouts, “Shanty,” “Alife,” and the slightly New Order-esque “Kisses.”

Part of me wants to think that this album is like a brighter 2023 answer to the Cure’s “Faith,” in the way that it sounds like it is designed for pensive moments lying on one’s bed. Actually, since it isn’t as dour in tone as “Faith,” it may be closer in tone to “Disintegration,” if I’m going to stick to my guns on comparing this to the Cure. In any case, a second reunion record must mean that everything stuck… which is great to know, especially since the output is still so strong.

Album cover detail. Caroline Polachek - “Desire, I Want to Turn into You”

16. CAROLINE POLACHEK – “Desire, I Want to Turn into You” On her second solo album under her own name, ex-Chairlift singer, Caroline Polachek ups the pop quotient and goes full steam ahead.

“Pretty in Possible” recalls the work of Frou Frou (Imogen Heap and Guy Sigsworth) with miraculous results while “Sunset” works a flamenco groove. On “Fly to You,” Polachek is joined by the the surprising duo of Grimes and Dido, with the three of them singing over a drum-n-bass break. “Blood and Butter” makes the most of a marimba beat.

This set showcases Polachek’s impressive vocal instrument well. She has a knack for unusual, quickly modulating melodies that show off her level of skill. Right from the beginning of opener, “Welcome to My Island,” the listener is greeted with her mighty bellow, which is just as capivating when she pumps the breaks. (Listen to the delicate, hushed details in “Hopedrunk Everlasting” and “Butterfly Net”)

“Desire, I Want to Turn into You” is a sultry, elastic, entertaining listen. It is the soundtrack for a tropical paradise both real and imagined.

Album cover detail. Lydia Loveless - “Nothing’s Gonna Stand in My Way Again”

 15. LYDIA LOVELESS – “Nothing’s Gonna Stand in My Way Again” Lydia Loveless has been a rising star in the world of alt-country pretty much since they first appeared, but at only ten tracks in under 33 minutes, her sixth record, “Nothing’s Gonna Stand in My Way Again” should, if there is any justice, be a career-altering gamechanger.

It doesn’t get any better than the wistful, mournful balladry of “Runaway,” with its eighties synth-pad keys and its soaring chorus. On “Song About You,” they turn what should be a bright pop song into something darker and more introspective. There’s a punk stomp to “Poor Boy.” “Sex and Money” has one hell of a hook. “Toothache” has a Paul Westerberg-esque saunter to it. “Do the Right Thing” sounds like it would have been a massive hit in the eighties, when country radio was more genuine in its approach.

Honestly, while Nashville boardrooms are packed with songwriters writing stale, generic odes to beer and trucks, artists like Lydia Loveless are out here giving us something real and unapologetically raw. They’re the next in line, following in the footsteps of greats like Lucinda Williams and Neko Case. Pay attention to this record. It is important.

Album cover detail. The Chemical Brothers - “For That Beautiful Feeling”

14. THE CHEMICAL BROTHERS – “For That Beautiful Feeling” Leave it to the Chemical Brothers on their tenth album to essentially create a perfect and seamless soundtrack for a blissful rave.

“For That Beautiful Feeling” glows brightly with its layers of psychedelia. Halo Maud jumps aboard for “Live Again  and the cathartic title track. “No Reason” is a new classic in the duo’s immense catalog with its infectious bassline. Even Beck is here to deliver the pensive “Skipping Like a Stone,” complete with synth choir, siren sounds and a house beat. “Magic Wand” is cool, woozy haze of bleeps and bloops over a charmingly dissonant bass.

Even their 2021 single, “The Darkness That You Fear” makes its album debut here, fitting well into the album’s context. If you love the Chemical Brothers and are looking for a solid, euphoric dance record, look no further. This is an aptly titled record.

Album cover detail. Mitski - “The Land is Inhospitable and So Are We”

 13. MITSKI – “The Land is Inhospitable and So Are We” On last year’s “Laurel Hell,” Mitski was firmly planted in an electro mode, singing her often dour and emotionally poignant songs over some icy keys and drones. While it might have been tempting to think that her next step would be to go fully industrial with her sound, instead, on her new album, “The Land is Inhospitable and So Are We,” she strips things back for a more folk-y approach. It worked. She scored a big hit with “My Love Mine All Mine,” which verges on sounding like a vintage country ballad. “Heaven” and “The Frost” both mine the same territory with even more slide-guitar. “Buffalo Replaced” sounds like with a few minor changes and with a volume lift, it could be covered by Alice in Chains. (You think I am joking. I am not!)  This may be her most laid back album to date, but the edge is still there. “I Love Me After You” sounds sweet and angelic, while possessing a menacing undertone, eventually giving way to a dense layer of guitar fuzz.

If anything, here, Mitski continues to establish herself as one of indie-rock’s most skilled chameleons.

Album cover detail. Hannah Jadagu - “Aperture”

12. HANNAH JADAGU – “Aperture” A new signing to the famed Sub-Pop label, Hannah Jadagu brand of “bedroom pop” aligns with the intimate music the label has been known for in recent years. A hushed, sonic experimenter, the music here would fit well between the likes of Phoebe Bridgers and Mitski.

“What You Did” buzzes and booms at its highest points, but Jadagu always sings in a conversational tone, emphasizing the shoegaze-esque guitar approach. “Say it Now” follows a similar pattern. “Admit It” has a trippy beat and some cool synths that at times makes it sounds like it about to fall off of its axis, creating a beautiful sense of tension.

“Shut Down” is a cutting guitar ballad about feeling out of sorts, whereas, “Warning Sign” is a confident and assured, jazzy exercise. If you haven’t heard Hannah Jadagu before, “Aperture” is an immediately engrossing full-length debut.

Album cover detail. Corinne Bailey Rae - “Black Rainbows”

11. CORINNE BAILEY RAE – “Black Rainbows” Talk about throwing a curveball… For the lead single to her album, “Black Rainbows,” Corinne Bailey Rae, who is mostly known for hushed, lush R&B hits like her 2006 smash, “Put Your Records On,” instead dropped, “New York Transit Queen,” a raucous, Bad Brains-inspired bit of punk. Perhaps bored with her perceived lane, she decided to stir things up. “Black Rainbows” is an eclectic, daring record. It also won’t be completely alien to the fans who liked her old style.

“A Spell, A Prayer,” which opens the record sounds like her older material, with some psychedelic elements and some heavy guitars added. The title-track is inventively abstract as it morphs into a jazz breakdown.

“Erasure” booms and bristles with the same punk energy as the single, with Bailey Rae effectively and essentially declaring that rock is black music and to many that knowledge seems to have been erased.

 “Red Horse” is the kind of angelic slow-burner that her longtime fans may expect. The same could be said for the hypnotic, orchestral “He Will Follow You with His Eyes” and the stunning, “Peach Velvet Sky.”

“Black Rainbows” is a concept record that was inspired by an exhibit on Black History Bailey Rae saw in Chicago at the Stony Island Arts Bank. It is a focused, (sometimes purposefully jarring) meditation particularly on the African-American Experience. As a British person, Corinne Bailey Rae can draw similar parallels with our two countries’ troubling histories. To those who don’t understand her aim, this will probably be seen as Corinne Bailey Rae’s odd answer to Radiohead’s “Kid A.” Those who fully get it will see that she is trying to encapsulate the diversity and range of the black experience into a 44-minute timeframe.

From a historical point of view, this is a genius bit of work. For someone who wishes other artists would feel increasingly free to experiment and take big, unexpected creative swings, this is a truly awakening piece of work. Corinne Bailey Rae could have chosen to take the safe route. Thankfully, she chose to follow her muse.

Album cover detail. Be Your Own Pet - “Mommy”

10. BE YOUR OWN PET – “Mommy” Be Your Own Pet return with their first album since 2008’s excellent, “Get Awkward.” This riotous, daring Nashville garage-rock band were one of the true musical highlights of the first decade of this century.

Formed as a band of teenage friends, this group delivered two groundbreaking albums before quickly splitting. I don’t know why they broke up. It might have had to do with Universal refusing to release their second album, “Get Awkward,” as they intended in the U.S., concerned with “violent lyrics.” The three songs that Universal removed were then released by their British label, XL, in the states. (One of those three songs, “Becky,” is now their biggest hit on streaming… Go figure.) This is a band that has always pushed buttons. Not genuinely. In a winking, John Waters kind of way…

The cheekily-titled “Mommy,” finds the band now in their thirties but not losing any edge. Frontwoman, Jemina Pearl is now a mother. (Thus, the album title.) On “Goodtime!” she sings about the fear of missing out in the same aggressive tone she had before, only she shouts, “I got two kids and a mortgage!” It’s a song about growing up, having real responsibilities and yet not losing your youthful essence.

Elsewhere, “Worship the Whip” is some campy fun with dominatrix imagery. “Pleasure Seeker” is a charging, stomper of a song. “Hand Grenade” feels like it is literally revving up to explode, while closer, “Teenage Heaven” is a disarmingly lush and delicate, fifties-inspired make-out anthem.

This album is a textbook example of how to come back after a long break and effectively pick up where you left off. Also, it is funny to note, this band traded guitar gods as label bosses. When they signed originally to Universal, they were on Thurston Moore’s imprint, Ecstatic Peace! Their new album is on Jack White’s label, Third Man Records. Here’s hoping the creative juices keep flowing and that this band remains active.

The world needs playfully subversive bands like Be Your Own Pet. Welcome back!!!

Album cover detail. Peter Gabriel- “i/o”

9. PETER GABRIEL – “i/o” Peter Gabriel last released a proper album of all original material back in 2002, when he dropped “Up.” In the years since, he has released a few albums of covers and a collection or rare songs and spare tracks. So, this makes “i/o” a big deal. He also apparently thinks it is a big deal because he released the album with THREE different mixes. Those mixes are “The Bright Side Mix,” “The Dark Side Mix” and (the Blu-ray “Dolby Atmos” version) “The In-Side Mix.”  (This isn’t “lo-fi” in the least. This is labored over audiophile perfection.) Thankfully, this is his strongest batch of songs since the 1986 landmark, “So,” even if it still doesn’t reach that record’s immense heights.

Throughout the set, Gabriel has a cinematic, orchestral focus. “Panopticom” and “The Court” constantly are moving and evolving pieces. These are still pop songs but in the most complex sense. “Playing for Time” seems to be a reflection on human existence in space and time. (Beginning it by paraphrasing Chopin’s “Death March” is an interesting choice.)

All throughout, this album plays like Gabriel is an elder wise-man calling down observations from a mountain. The environment, the way we treat each other, consumerism, war… They are all discussed in some veiled and some less subtle ways. “Four Kinds of Horses” takes this approach in a nutshell, while “Road to Joy” feels like his 2023 answer to the same sound he gave us on “Sledgehammer” and “Steam.”

In a weird way, the unapologetic brightness of chorus in “Olive Tree” is an overt (and rare) sonic reminder that Peter Gabriel and Phil Collins emerged from the same band.

“Love Can Heal” is a plea for peace and understanding. In the course of the set, Gabriel has a point of view but he is never preachy. He never oversteps. It helps to have some unquestionable musical fortitude backing up his sentiments. It is hard not to be engrossed in this music.

It isn’t all political, either. “And Still” is just as moving as it tells the story of either a break-up or a death.

The years between releases show in “i/o.” I mean that in the best way. This is a rewarding piece that feels more like an immersive art exhibit than a traditional album. Gabriel’s level of craftsmanship is incredibly high.

Album cover detail. André 3000- “New Blue Sun”

8. ANDRE 3000’s “New Blue Sun” No doubt, critics are bound to over-inflate the importance of André 3000’s solo debut, “New Blue Sun.” Perhaps, as I am writing this, I am doing the same. Still, it is remarkable that instead of releasing a rap album for his solo debut, he decided instead to make an abstract, ambient flute record, comprised of eight tracks in 87 minutes. (Essentially, he is finding his inner Sun Ra.. or… Zamfir???) This is a crazy and daring move, but not surprising since André has always been one to go his own direction.

How are the songs? They are great. I won’t get into the titles because they are humorous and ridiculous. (An absurdly funny rundown.)

Most of these tracks are over ten minutes which means that André has now beaten Tool’s “Fear Inoculum” for the song with the longest length to make it onto a Billboard chart. 

I’m sure there are many people who normally make this kind of ambient, jazz-flavored meditation music wincing at the attention this album is receiving. They aren’t necessarily wrong… But in this case, the source matters. A lot of people who would never think to listen to a record like this will give “New Blue Sun” a spin and love it. Perhaps it will open up a new musical door for them. This abstract mood music may be the exact chill-out soundtrack we need at this point. It takes guts to release an unexpected album of this sort.

Like Corinne Bailey Rae did on “Black Rainbows,” André is just following what he feels. More artists need to feel safe to take these kinds of risks.

Album cover detail. Meshell Ndegeocello - “The Omnichord Real Book”

7. MESHELL NDEGEOCELLO – “The Omnichord Real Book” What genre is Meshell Ndegeocello’s thirteenth album, “The Omnichord Real Book.”  One could make a strong argument that this 18-track, 72-minute opus is a jazz record. Along the way, flecks of R&B, folk and even Afrobeat slip into the mix. “Call the Tune,” for instance is definitely not jazz by any purist’s definition, but in any case, Ndegeocello has made one of her strongest and most adventurously atmospheric albums to date.

There is no way I can do this album full justice in a short few paragraphs. The best way to sum this up is as a profoundly warm and immersive sonic experience. While she is now three decades removed from the MTV fame that her single, “If That’s Your Boyfriend (He Wasn’t Last Night)” rightfully earned her, she has long been releasing a string of quality releases ever since.

Listen to “Omnipuss” or “Clear Water” and it is undeniable that Ndegeocello brings her own unique brand of funk. The boat load of guests on this album help bring her bass-led jams to life. The interplay with guitarist, Jeff Parker on “ASR” alone is worth the price of admission. By the time you reach the nearly nine-minute, synth-heavy jam, “Virgo,” if you don’t truly believe this album is astounding, I don’t know what to tell you. All the way through, this collection offers up one of the most open musical journeys of the year. I mean, there even is an interpretation of “Hole in the Bucket” on here…. One that is soulful, heartfelt and rousing!! 

Album cover detail. Foo Fighters - “But Here We Are”

6. FOO FIGHTERS – “But Here We Are” They may be the “rock saviors” with the biggest pull in the mainstream, but let’s face it. Foo Fighters albums tend to be hit or miss. Exceptions come to mind (2011’s “Wasting Light” for one…) but, for the most part, after 1999’s “There’s Nothing Left to Lose,” the band took a huge turn into mostly meat and potatoes, run-of-the-mill, ham-fisted rock. I’m not sure what happened but generally speaking, they lost that alternative spark that was left over from Dave Grohl’s time in Nirvana.

“But Here We Are” was crafted rather quickly after the sudden death of drummer, Taylor Hawkins, and honestly, the old band sounds like they are back. Maybe losing Hawkins woke Grohl up, but they seem again like the same band that made their first three records. This is immediately felt at first listen of singles, “Rescued” and “Under You.” Hawkins’ ghost haunts this set on songs like “The Teacher” and “The Glass.” This doesn’t sound completely like a mournful record, necessarily, musically-speaking, but lyrically, this thing is all about Taylor. Dave’s daughter, Violet adds some glorious back-up vocals to “Show Me How.” The title-track is a tight, angular rocker with a swagger, while “Hearing Voices” bristles with emotion.

It's a shame that it took the loss of Hawkins to bring the band back to their glory. In comparison to the wonky, weird prog-meets-funk attempts on 2021’s “Medicine at Midnight,” this sounds like a different and more awake band, playing to their truest strengths.

Oh, and if you listen to this, you should also go and find H.E.R.’s jaw-dropping cover of “The Glass.” (The crossover, I didn’t know I needed!)

Album cover detail. El Michels Affair & Black Thought - “Glorious Game”

5. EL MICHELS AFFAIR & BLACK THOUGHT – “Glorious Game” The Roots haven’t dropped an album since 2014, maybe because they are too busy being the house band on “The Tonight Show.” That being said, over the last few years, no MC has been more on fire than Black Thought. Last year, he worked with Danger Mouse and released the excellent “Cheat Codes.” This year, he paired with soul band, El Michels Affair and “Glorious Game” is the end result. WOW! The band’s dusty, thick, vinyl-ready grooves suit Thought’s tight lyricism. “Grateful,” with its reggae nod and the title-track, anchored by singer Kirby’s unique approach to the hook, both stand out from the pack.  “I’m Still Somehow” mines doo-wop gold to create the kind of laid back beat few other rappers would approach. “Hollow Way” has a beat that slowly speeds up and switches. The same tempo trick is used on “The Weather.” “That Girl,” “Alone” and “Miracle” are all startlingly smooth.

This isn’t surprising because the El Michels Affair is a band that is comprised of some former members of the Dap-Kings. Imagine Black Thought rapping in Sharon Jones’ place and you get the idea. These guys know their way around a vintage sound.

Album cover detail. Caroline Rose - “The Art of Forgetting”

4. CAROLINE ROSE – “The Art of Forgetting” You never know what you are going to get with Caroline Rose. Starting off as an Americana artist before switching to alternative pop on 2018’s stupendous, “Loner,” Rose then made an even more tongue-in-cheek pop record with 2020’s “Superstar.”

To call “The Art of Forgetting” a murky, gut-wrenching experience is an understatement. No record in recent memory has captured the angst of a breakup quite the way this record does. It is all spelled out so clearly on single, “Miami.” (“She wouldn’t touch me and she hadn’t for weeks.”) When Rose sings, “This is going to break you. / This is going to rip your own heart out,” those words are delivered with every muscle. There is a warped and wounded quality to even the instrumentation on this record. The whispered vocals through a phone effect on “Everywhere I Go I Bring the Rain,” drive this essence home. In fact, so many parts of this album are delivered through this hazy backdrop. “Stockholm Syndrome,” even with its warm, uplifting tune still sounds drained. Brighter and more upbeat in its execution is “Tell Me What You Want,” where Rose asks, “Are you trying to kill me?” (Yes, this record is some raw realness.)

Rose could have approached this and made an even more pop-driven album than “Superstar.” While this isn’t the kind of album that would generally result in hits, it is a fully rewarding piece of art. Most people make art and use it as a tool to process and work through the weird things that have happened to them. Caroline Rose turns this into confession-fueled gold. Every ache. Every pang. Every gasp of uneasiness is on this record, sandwiched between phone messages from what I’m guessing is an older relative hoping that Rose is doing alright. Indeed, “The Art of Forgetting” is a bluntly honest record, looking up from rock bottom. Beneath the layers of pain and anguish, lies a beautifully universal sense of humanity.

Album cover detail. Meg Myers - “Tzia”

 3. MEG MYERS – “Tzia” For her third proper album, “Tzia,” alternative singer/songwriter Meg Myers, radically changed her look to re-emerge as some sort of cool, bleach-blonde alien. Perhaps this change was a middle finger to being burned by stylists at major labels. (Frankly, artists should have complete autonomy of their own image and look.) Judging from the album, itself, perhaps Myers was taking a page from artists like David Bowie. This does seem to be a futuristic set, anchored by standouts like lead single, “Children of Light II.”

“A New Society” is a modern, electro-tinged jam that creates a wish list for a modern utopia. “Me,” is a bold anthem of self-appreciation. The Luna Shadows and Carmen Vandenberg-assisted “HTIS”, which literally stands for “Hiding that I’m Sexual,” is obviously (quite literally) an ode to sexual awakening.  Indeed, this album plays like a dense exploration of rebirth.

The fact that “My Mirror” isn’t a monster, star-making hit on pop radio shows how the “mainstream” music industry is failing the public. Indeed, Myers, yet again proves she is a potential superstar. Sure, she had a major breakthrough with her excellent cover of Kate Bush’s “Running Up That Hill” (slightly before that track’s “Stranger Things” renaissance!) but she deserves to be seen as a hit-maker in her own right. Few artists are currently making as bold and honestly stirring records.  Listen to “Waste of Confetti,” here, and tell me it doesn’t sound like both a beautiful sonic punch in the face and a breath of fresh air.  I mean, she even covers Linkin Park’s “Numb,” adding her own brand of torment. It is funny that she covered this, considering she had her own excellent single called “Numb,” in 2018. If you aren’t already listening to Meg Myers, you need to start!

Album cover detail. Olivia Rodrigo - “Guts”

2. OLIVIA RODRIGO – “Guts” Olivia Rodrigo ups her rock side on her sophomore album “Guts.” She’s doubling down. (Even more amazing, she’s taking the Breeders on tour with her, which means some teen fans will be exposed to an awesome band fronted the coolest 62-year-old twins you can imagine.) “Guts” equals or maybe even betters “Sour” in just about every way. It is the same approach with even more confidence.

Right from the opener, “All American Bitch,” Rodrigo mixes sweetness with bile. This is quite literally (from what she has said) what probably happens when a pop star gets awakened by also listening to Rage Against the Machine.  “Bad Idea, Right?” would make Elastica proud. “Vampire” is a stirring, show-stopping piano ballad kiss-off that throws a chord progression similar to Radiohead’s “Creep,” on its head. “Lacy” is delicate but packs some bile. “Ballad of a Homeschooled Girl” is brimming with timeless angst over the kind of backdrop that sounds like it is straight out of 1995. “Get Him Back!” is a cheerleader-ready breakup track in which Rodrigo adopts a spoken/rap flow that at times playfully references Beastie Boys’ “No Sleep Till Brooklyn.”  “Love is Embarrassing” is a beautiful piece of “new wave” pop. “Pretty isn’t Pretty” tackles beauty expectations quite cuttingly. The piano riff from “Teenage Dream” will get caught in your head as Rodrigo ponders the dread in her head about celebrating her 19th birthday. (I’d tell her that that that dread and insecurity never goes away… but I think she already knows…)

As 39-minute pop records go, this delivers an incredibly rich text. It is the kind of record that I can imagine enjoying just as much as a teenager as I do now. The gripping emotions that swirl through Rodrigo’s music are evergreen. This is just about the highest quality pop record you can get in 2023.

Album cover detail. Bully - “Lucky For You”

1. BULLY – “Lucky For You” Alicia Bognanno is a force! A recording disciple of the legendary Steve Albini, she has now made four records an EP with her project, Bully.

“Lucky for You” is her latest and most assured collection to date. Does it get much better than grungy single, “Days Move Slow?”

“A Wonderful Life” is the most beautiful breakup song this side of Caroline Rose’s record, albeit with less quantifiable consternation on the presentation side. (Why this isn’t a single, I don’t know. It is the album’s best song!)

“Lose You” is a smash, featuring Soccer Mommy, where Bognanno sings, “Time is just a useless measurement of pain!” “Hard to Love” uses eeriness to its benefit, adding some extra drive. “Change Your Mind is packed with emotion and is still one of Bognanno’s most hook-driven songs to date.

This year was packed with emotionally-wrought, well-executed albums, so why is “Lucky for You” by Bully number one? It actually is simple. Here, Bognanno mixes heartfelt sentiment with infectious and punk-driven rock songs with ease. The whole thing is so succinct and to the point. It makes you want to listen to this album on repeat. It is a very close race with a number of these top choices, but this is the album of the year.  The bit of righteous political rage that closes the record, “All This Noiae” further cememnts the importance of this record.

So 2023 is about to end…. Please gp listen to these records! Support art wherever you can! Buy albums! Make music, yourself! Music is so vital and to too many people, it is seen as something expected and recyclable. That needs to change,

I’m sure there will be even more great music in 2024! Happy New Year!

Why Haven’t the Television and Film Industries Learned From the Music Industry’s Mistakes?

A list of apps on an Amazon Fire TV.

As the writers strike ends, the actors remain on strike. Here we are, at the start of what should be a new season and it looks like we are close to possibly getting one. How did we end up here? It is painful to watch the television and film industries repeat the same mistakes that the music industry made two decades ago.

 Back in 1999 and 2000, when the record industry lost its footing, it did so because there were many people who naively didn’t truly understand the value of music. Napster and sites like it were born out of frustration from some people who didn’t want to pay master-list prices for CDs, take them home and then end up  “only liking one song.” While this approach may be the cause and the industry may have overplayed its hand with $18.99 list prices, it is still a myopic way to approach music. As a music collector around the same age as those who started this new digital “revolution,” I rarely found myself disappointed at that level by an album that I had purchased. If I only liked one song at first, I would listen to that album again until another song popped and blossomed. (Music sometimes takes time and patience to examine properly. It isn’t always the immediate sell.)

As a consumer and a lover of music, even at that time, I knew that even if I bought an album that I didn’t end up loving, I was still supporting the industry and the creators of art. The simple fact is, the kids downloading and sharing files on the sites for free saw what they got in return without perhaps realizing the lasting ramifications. Sure, if we all accept that the music industry was a money-grubbing, massive conglomerate, it all seems easy to justify, but in reality, what was really happening was the creators of the music that was being downloaded and traded for free were losing their livelihoods. If that happens over and over again, it creates a cycle that ultimately kills the industry.

Spotify.

Riding high on massive sales at the start of the file-sharing boom, the music industry didn’t act quickly enough to counteract the catastrophic damage that was being done. Money was pouring in. Executives were getting rich off of album sales. Why should they worry? Nearly a quarter of a century later, artists making music are struggling. The major labels are now perhaps forced to go with what makes them easy money in the fastest way possible. Ultimately, this, in combination with the industry consolidation of the Telecommunications Act of 1996, which allowed companies to expand almost exponentially with fewer restrictions, resulted in a world where fewer musical innovations hit the mainstream. Sure, there will ALWAYS be excellent new music. (Don’t let anyone tell you that music isn’t as good as it used to be. That’s usually an embittered person, yelling at clouds, lacking the bandwidth to do the necessary research.) In today’s environment, however, it is more likely that the real musical innovators will be stuck in the fringes. Streaming royalties are low. (On Spotify,, it takes 1,000 streams to make roughly $4. On Amazon Music and Apple Music, the same streaming numbers could add up to roughly $5. Imagine you have a song with multiple writers and contributors, each dividing that pie! It isn’t sustainable.) Less mainstream experimentation happens now because the companies that operate the major labels have more to lose if risks don’t equal returns. The executives up on top are probably still getting bonuses, so ultimately the ones being increasingly fractured from the equation are the actual creators of the music, without whom, there wouldn’t be an industry.

In television and movies, it works the same way. The companies have merged to point of being too big to manage. The executives above are taking their huge payouts and not necessarily paying the writers, actors and the people behind the scenes what they are worth. “Cutting the cord” has in a way had the same effect as file-sharing did on the music industry. As we adjust to new digital means, we need to adequately and fittingly also adjust the pricing so that artists and creators can afford to create. It’s simple logic. If years ago, you spent $200 a month on cable but now you have four streaming services instead at $15 a month, each, that means that the industry now has to maintain the same level of entertainment with a net loss of $140 per month. Multiply that by millions of people and you see that it is an avalanche that threatens to destroy the industry.

The executives on top are still going to take more than their share and somehow justify doing so, so ultimately the people who actually create suffer from the consumers looking for a way to get more for less money. The greed and imbalance up top is a problem in nearly every American industry. (Look at what is currently happening with the auto-workers.)  Somehow those in power still want us to believe the Reagan-era lie of “Trickle-Down Economics.” It sounds good on paper. In practice, it never works. It enriches those on top while resulting in inequality below. This approach has led to many huge entertainment companies facing major layoffs. Those below suffer while those above do their best to maintain their status.

Entertainment-wise, what does this mean? It probably means that in order to make this modern streaming system work in a way that is more equitable to the people behind the scenes, prices need to go up for both the music and the video streaming sites. A lot of people need to be able to afford to continue to make art. Of course, then that also creates a tricky balance.

When Max first appeared as “HBO Max,” the idea was that it was pretty much going to have virtually the entire HBO and Warner Brothers collections. Then Warner’s new parent company, Discovery came in and began removing titles. Like the old syndication model, more money is made by essentially leasing content out to other platforms. Perhaps we will see Disney begin to eventually do this with their content. The problem is, the completest aspect of these streaming services is a huge selling point. Lessening what is actually available on these apps diminishes their value. Plus, the compartmentalizing by production company made it easier to know and find certain programming on their respective apps.

Movies Anywhere is an app initially started by Disney. When you buy a digital movie from Amazon, Apple, Vudu, etc, and it is from Disney, Sony Pictures, Warner Brothers or Universal, this app allows you to link your services so that your movies show up in all of your collections. Paramount, Lionsgate and MGM have yet to join.

Ultimately, this is probably bad news. If you still have cable, as counteractive as it may seem, you probably shouldn’t cut the cord. If you listen to music on a music service, you definitely should still buy music whenever you can. Also, in addition to going to the movies, if you know of a movie or show that you want to be able to watch repeatedly, you should buy it, either in physical form or from a digital retailer to make sure you will have continuous access.

If you want entertainment to continue, its financial eco-system needs to be maintained. (It definitely needs to be severely retooled, as well, but we also don’t want it to cave in the meantime.) That being said, eventually ALL of the streaming services will have to increase their prices to make up the difference. Residuals are important because they support creators and afford them the ability to create even more.

In the end, those Napster kids probably thought they were sticking it to the labels. 23 years later, we have just traded overlords. We continue to barrel ahead into a more uncertain future.

Tribute and Rant: Steve Harwell: (1967-2023) Why Smash Mouth Deserves a Better Legacy

I'll be honest. I never loved Smash Mouth. I do, however think they probably deserve a different and better legacy.

The omni-presence of "All Star" (which isn't necessarily a bad song, but kind of suffers from being over-played in the same way, say, as the Spin Doctors' "Two Princes") hampered them. Yes, the "Shrek" of it all, matters. It is amazing to me, for instance that somehow, "Accidentally in Love," is Counting Crows' second biggest song in the streaming era, eclipsing much better songs from their discography. While no one is Smash Mouth was ever even close to possessing Adam Duritz's unique artistry, like Counting Crows, better songs in their discography were overshadowed by "All Star." At least on their first two albums, the strong, happy, sometimes bubblegum retro-sixties vibe that showed up, was interesting.

On the song “Then the Morning Comes” and the VERY Doors-influenced "Walkin' on the Sun," they also merged a tad hint of psychedelia into their sound. In the case of "Then the Morning Comes," look beyond the goofy, semi-embarrassing "dude-bro" video and actually listen to what is happening musically. Fascinating shifts and melodic turns. While it might be the "dude-bro" side that cemented their often maligned cultural place, it is their skill at merging a bubblegum, sixties pop vibe into a nineties, ska-punk-infused framework that should be their claim to fame.

Steve Harwell was not a great singer, but like the Kool-Aid man breaking through the wall of a party, he brought a likable level of undeniable charisma. Again, these guys arose from the ska-punk side of things. While not possessing the finesse of the bellow of Dicky Barrett of the Mighty Mighty Bosstones, Harwell's vocal approach came from a similar place. I also think that in the nineties we were musically spoiled by an embarrassment of riches. The earnestness and the craft in the work of the bands of the early nineties, made the light-eared sound of late-nineties alternative pop sound infinitely less impressive. In hindsight, it was fun, almost mirroring the musical evolution of the sixties in chronological reverse.

Smash Mouth knew who they were, too. They were never a cool band. Their willingness to admit that on record (see "The Fonz,") and their tendency to unflinchingly lean into occasionally hokey cover-versions with confidence prove that point.

The band Smash Mouth still exists with a new singer but like them or not, they will never be the same without Steve Harwell. Sure, lots of embarrassing "dude-bro" energy was all around, but the band had their place. Smash Mouth had their own unique sound.

Rest in peace, Steve Harwell.

John Mayer's "Sob Rock" ***1/2 (Columbia 2021)

Sure, John Mayer’s eighth studio album suffers from an atrocious title. This isn’t helped one bit by its kitsch-y, eighties-fueled album cover. This is, however, all delivered with a wink of sorts. Mayer is in a way trying to emulate singer-songwriters who managed glitzy glossy pop crossovers in the eighties. No doubt, Maren Morris’ quick guest appearance as opener and single, “Last Train Home” fades off is meant to mirror Chaka Khan’s stand-out guest turn on Steve Winwood’s classic eighties pop confection, “Higher Love.”  Does it reach those heights? Not quite. Still, it is quite enjoyable. 

The tender ballad, “Shouldn’t Matter But It Does,” hits a sweet spot, partly because it recalls Mayer at his peak, “Room For Squares”-era likability. Yes, “Your Body is a Wonderland” is still a bit embarrassing, but the guy who wrote “Why Georgia” and “No Such Thing” is still hiding in plain sight. 

 The truth is, Mayer’s worst tendencies still tend to frequently hinder otherwise appealing moments. Like when he sings about “pushing 40 in the friend-zone” on otherwise sunny and bright, “New Light,” or insists on calling a song, “Why You No Love Me?”  The latter is just awkward, whereas the former wouldn’t necessarily stand out so much if Mayer’s personal life weren’t as famous as his music.

 “Wild Blue” is a slick, hushed bit of bluesy soft rock which perhaps nods to Dire Straits in ballad mode, while “Shot in the Dark” recalls inoffensive mid-eighties “Lite” radio fare. That may sound like an insult to some, but it isn’t intended as such. In fact, this record as a whole feels like a odd warm blanket, recalling a time which seems lost. 

 In an age where the stations that used to be “Lite” now play dance music, this should theoretically sound like a lost an unwanted, outdated relic. In lesser hands, it would. Mayer has seemed somewhat adrift for his last few albums but here, he is suddenly in his element. 

 The warm subtlety of “I Guess I Just Feel Like” is bolstered by Mayer’s guitar skills, while “When the Right One Comes” also sounds like a vintage slice of mellow, neon-hued pop. 

 On “Carry Me Away,” Mayer’s eighties obsession hits its apex, with a wonderfully glowing groove that wouldn’t sound out of place in a John Hughes film. Gravity-defying, wistful synths prove to be a solid anchor here, giving the track a potent sense of instant nostalgia. 

 The tight, 39-minute set closes with the quiet builder, “All I Want Is To Be With You,” a song that sounds so immediately familiar that I had to check to make sure it wasn’t a cover. 

 “Sob Rock” comes across as strangely effortless. Mayer has been bogged down in recent years and he hasn’t sounded this at ease perhaps since “Continuum.”  On paper, this album shouldn’t work. It is not of this time and such a concept should perhaps weigh it down. This is not the case. Add to that that some of these songs were released as singles two or even three years ago and the record’s strict cohesiveness seems to fly in the face of all logic. 

Twenty years after “Room For Squares,” Mayer has found another admirable comfort zone. If only the record had a better title.