The rumors have been confirmed. “The Strokes” are returning with a new album on April 10th via “RCA Records” titled The New Abnormal. Today the band have released the album’s first single “At the Door,” a synth-heavy and surprisingly percussionless track that finds lead singer Julian Casablancas delivering one of his most gut-wrenching vocal performances yet. If you’re expecting Is This It, you’re going to be disappointed, because the band are continuing to move forward and adopt new sounds. They’ve never been the nostalgic type. They find new ways to reinvent themselves, and that’s what separates them from the other bands that were in their class in the early 2000’s. That’s why we still pay attention. The New Abnormal will be the band’s first release since their 2016 E.P. Future Present Past, and their first full-length album since 2013’s Comedown Machine. You can watch the music video for “At the Door” below:
Genre: Art Pop/Synth-Pop/Post-Punk/Electronic/Glam Rock
Label: Lucky Number
Rating: 9/10
After waiting for what felt like an eternity, “HMLTD” have finally released their debut album West of Eden. Following their string of genre-bending singles dating as far back as 2016, it’s impressive to see how much the band have evolved. They once were the band to watch, the band at the top of everyone’s “up and comer” list, garnering a following with their energetic live shows and refusal to stay in one lane as far as genres go. You can hear elements of Synth-Pop, Post-Punk, Electronic, Goth, and their sound is topped off with immense theatricality thanks to lead singer Henry Spychalski’s raucous vocals that are as colorful as they are ear-splitting, and let’s not forget the band’s glamorous look that is equal parts Marilyn Manson and Club Kid. After years and years of anticipation, a large chunk of singles, a Synth-Pop heavy EP, and the unfortunate dropping of the band from “Sony Music,” the band’s debut album had to live up to a high expectation, and my God does it live up to it. Upon first listen, the surprise factor may be absent with some songs due to the fact that we’ve been listening to them for years. “To the Door,” “Satan, Luella, & I,” and “Death Drive,” were all released before we even knew the name of the album, (or if an album was coming out for that matter) but compiled with the album’s newer deep cuts, the songs flow nicely within the context of the album, and they never feel like filler tracks. West of Eden has a consistent “Western” style to it, sounding like a Glammed-out Ennio Morricone, and it’s fitting seeing as how much of the album’s material is a rejection of Western culture and social norms, and the band abrasively yet fabulously tackle these themes. Think “Death Grips” with glitter. As important as these themes are to the band, they never lose their sense of fun or sense of humor. With lyrics like “I sold my soul to The Devil tonight because I was pretty fucking poor” on the track “Loaded” and the graphically absurd telling of the murder of an imaginary friend on “Where’s Joanna?” the band aren’t afraid to confuse you with lush and innovative “Pop” that will make you laugh and sing-along while you question your morals. So what makes this album so important? it’s musically forward-thinking, introducing the “Pop” world to a myriad of experimental ideas, it’s well-produced and cleverly blends genres that don’t normally go together, and it has a Rock star personality that throws out the testosterone-filled, misogynistic, and macho clichés that have poisoned the genre in favor of introducing new ideas of feminism, rejection of tradition, and sentiment. Not to mention, these songs are catchy as Hell.
U.S. Girls will release their new album Heavy Light on March 6th via “4AD,” and following their fantastic single “Overtime,” Meg Remy and Co. have released another catchy tune titled “4 American Dollars.” The song is a 70’s “Funk” influenced commentary on the U.S. economy and society’s addiction to money and materials. You can watch the music video below:
Following their string-heavy and largely produced album The Soft Parade, “The Doors” got down to brass tacks with their follow-up Morrison Hotel. On this album the band went even further down the drunk and Bluesy road the band had been hinting at on prior releases, leading to a combination of the band’s signature “Psychedelic Rock” and whisky-soaked bar Rock that playfully sounded like the band having a good ol’ drunken time at your local dive bar on a Friday night. Though this album more often than not gets overshadowed by the more superior releases in the band’s catalog, this album spawned some essential tunes like “Roadhouse Blues” and “Waiting for the Sun,” and was a stepping stone toward the ultimate Blues the band had perfected on their following album L.A. Woman. Happy Anniversary.
We’re patiently waiting to hear the upcoming highly-anticipated “Ultraísta” album, but that’s not the only project we’ll be hearing Laura Bettinson on. Today she has released a new single under the name “Lau.ra” titled “Sideways,” and it features Secaina on vocals as well. The track is a fun “House” music induced banger that finds Bettinson showing her wonky side. You can listen to “Sideways” below:
Code Orange are set to release their new album UNDERNEATH on March 13th via “Roadrunner Records,” and today the band gave us another taste of the upcoming album. Titled “Swallowing The Rabbit Whole,” the song is just as vicious and rage-filled as the title suggests, and is incredibly experimental with odd time signatures and of course features an incorporation of Electronic/Industrial. The music video is just as explosive and creative. You can watch the music video below:
On this day in 1990 “Primus” released their debut album Frizzle Fry. Following their live album Suck On This, one of the weirdest and most unique bands in Metal emerged with quite possibly their best album, Frizzle Fry. Though their following albums were also revered and essential, Frizzle Fry is seen by many, including lead singer/bassist Les Claypool himself to be the quintessential Primus album. It’s easy to see why. The funky bass lines that found Claypool creating his own distinct way of tapping and slapping, Larry LaLonde’s sweeping guitar harmonies, and Tim Alexander’s impressive polyrhythmic drums were at an all time high on this album, proving the band were a force to be reckoned with, a bizarre force that sounded like a demented but zany child birthed from Frank Zappa and “The Residents.” Though the band favored jamming over grandiose lyrical content, much of the album’s themes dealt with storytelling and the lampooning of consumerism and society as a whole, themes that became Primus’ forte. You’ll never hear another band like Primus. You may hear shades of their inspirations in their music, but they’ve impressively crafted a sound that is very much their own and can’t be emulated. Happy Anniversary!
Jehnny Beth of Post-Punk group “Savages” has announced the release of her debut solo album which will be released on May 8th via “Caroline Records.” The album is titled To Love Is To Live, and that’s a title much of us need to hear right now. Along with the announcement, Beth gave us some heartfelt words. “Life’s so strange. Today is the day of my album announcement and I’m on a train to see my dad who’s spent the last two days in intensive care. I was supposed to be in LA to promote the album this week but decided to be with family instead. When I started making this record all I could think about was the impermanence of life, that I had to do this before it’s too late, and here I am now sitting on a train telling you that my album is coming and it’s called TO LOVE IS TO LIVE. Today those words resonate more than ever. There isn’t really anything else in life is it? only love, only love will remain.” Today Beth has also shared a new single off the upcoming album titled “Flower.” You can listen to the track below:
Formed in New York, and now based in Los Angeles, duo CMON (Confusing Mix of Nations) have been making a name for themselves with their undeniably infectious music that is both dance floor ready and guitar-driven with shades of the finest elements of Shoegaze and Post-Punk. The band have recently signed to “Mexican Summer,” and are now set to release their debut self-titled album on April 3rd. Following their single “Coo,” which will appear on the upcoming album, the band have shared another new track off the album titled “Zoo.” You can listen to it below:
The name says it all. You won’t get rid of him that easy. You may stumble upon his music and want to shut it off, feeling the discomfort that emerges when hearing his oddball mixture of electronics, twangy guitar, and hard to distinguish vocals. You can choose to not listen anymore, but he had a few minutes of your time. You entered his chaotic world. His music may turn off some people, but for weirdos like me, his music is a fucking playground. Who am I talking about? I’m talking about Victor “Cactus Frank” Fernandez, a self-taught musician from Venezuela whom I know very little about due to his mysterious online presence that reveals very little info on his background, but the mysterious factor works out in his favor, because his music speaks for itself. Under the name “El Café Atómico,” Cactus Frank has gifted us the first installment of his “Rampage Series” titled You Won’t Get Rid of Me That Easy, and it is an interesting listen. It’s futuristic Blues, Industrial-laden Psychedelic Folk, or Rock from the year 3000 as he describes, and in this glimpse of the future we witness a post-apocalyptic world where Cactus Frank is the sole survivor, and only he can create music to bring him solace and to exorcise his solitude. The bass heavy pounding percussion, the deep synths, and the Bluesy guitars are all indicators that Frank isn’t here to make your Dad’s favorite Blues music. He’s imaginative both in his instrumentation and songwriting. The lyrics are poetically cryptic, ranging from songs named after Japanese celebrity Takeshi Kitano to vivid pictures of children playing football with a head they’ve found. Very much open for interpretation. Though the vocal mixing could be a little better, and though this sounds like only the beginning of what has the potential to be a fruitful career, this E.P. is immensely ambitious. What does the “Rampage Series” have in store? I have no idea, but I’m ready.
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