So much music, so little time to review everything, but that doesn’t mean I haven’t been listening. 2026 has been a great year for music so far, and I would like to take this opportunity to spotlight some albums I didn’t get a chance to review.
Genre is Death – Attractive People
Though a myriad of modern Post-Punk bands incorporate elements of No Wave, very few bands fully epitomize the genre that had its heyday in late 70s-early 80s New York like “Genre is Death.” Taking the dissonant nature of No Wave, and combining it with heavily distorted guitars and minimal drum machine, the band’s second full-length album Attractive People is the sign of band that has no interest in being trendy, but has all the interest in bringing an uncompromising sonic experience to the world of modern Post-Punk, all while being melodic enough to hold every listener’s attention instead of pushing them away with abrasiveness.
House music is in late-stage broism. Many of us yearn for something less formulaic, and something with more personality. Though there are some outliers, the EDM-ification of Electronic music continues to reign supreme, which spawns an exhausting number of DJs and producers playing it safe by vomiting out the most commercial sounding music. Leave it to a veteran like Richard Barratt to bring us back to what makes House music so infectious. Most famous for being one half of the duo “Sweet Exorcist,” Barratt knows Electronic music and its various subgenres such as House and Acid Techno inside out, so it’s no surprise that his new album Crooked Stile under his “Crooked Man” moniker is pretty great. This album is refreshing.
Australian band “Pond” describe their 11th studio album Terrestrials as “goths at the pub,” and this is the truest description of the album. Much like what “MGMT” did on their album Little Dark Age, “Pond” departs from “Pink Floyd shit,” and incorporates 80s-driven New Wave, Goth, Post-Punk, and a dash of Glam Rock on Terrestrials, and they nail it!
A celebration of Hip Hop. New school and old school. Inspired by the immediacy of mixtape culture of the 90s and 2000s, IDK has released a mixtape that’s quite possibly the most ambitious and interesting Hip Hop release I’ve heard in years. If there’s a release that can bridge the gap between old heads and new heads, this is it. Blending Boom Bap with modern Pop Rap hooks, and let’s not forget the fantastic breakbeat of the track “Stigma,” IDK is shaping himself to be one of the most interesting rappers today.
Odor Eater – But For Who?
Saying I like 80s-tinged music is like Robert Smith saying he likes eyeshadow, yeah no shit! So it’s no surprise that a band like “Odor Eater” has my attention. The Portland, Oregon-based duo wear their “Devo” and “Depeche Mode” influences on their sleeves, but also channel something distinctly their own on their debut album But For Who? Bands that go this route often sound like a pastiche of the beloved era of teased hair and synthesizers, but “Odor Eater” sounds natural doing it. This music is catchy, fun, political at times, and features some killer clarinet.
New Zealand’s own “Earth Tongue” aren’t afraid to spotlight their “Black Sabbath” worship, but aside from some Doomy and fuzzed-out guitar riffs, the band resides in their own world filled with Dark Fantasy, Horror, Sci-Fi, and just about every nerdy thing you can think of. This music packs a punch, and there’s only two members!
Genesis Owusu – REDSTAR WU & THE WORLDWIDE SCOURGE
Using the term “genre-defying” is a bit of a cliché at this point, but in the case of Australian rapper Genesis Owusu’s music, there isn’t a more appropriate term. Fusing Hip Hop, Punk, Post-Punk Revival, Indie Rock, Funk, and New Wave, REDSTAR WU & THE WORLDWIDE SCOURGE is Owusu’s most eclectic album yet, and God damn it’s his best! It’s a political album that critiques the current state of propaganda, systems of inequality, the rich, and alt-right extremism. This album couldn’t have arrived at a better time.
The Healing Power of Horses – Summer Indoors (or outside wearing black)
Blending Trip Hop, Indie Pop, Industrial, and Experimental with deadpan vocals, UK band “The Healing Power of Horses” sounds like a band out of the “Windmill scene” in Brixton. Though they weren’t part of this scene, they take the PVA-style to the next level and show much promise on their new E.P. Summer Indoors (or outside wearing black). Hopefully there’s a full-length album on the horizon.
Nine years ago a lot of us music nerds were introduced to a fantastic Washington DC-based band named “Priests.” This fearless quartet tackled themes such as capitalism, consumerism and oppression, and following the terrifying inauguration of Donald Trump, the band’s debut album Nothing Feels Natural arrived at the perfect time. What made this band so infectious was their riotous style of Post-Punk yes, but also their lyrical style that stayed away from typical protest song sloganeering, and focused more on the effect capitalist-induced routine and consumerism has on our society. This was all executed with an introspective and at times sardonic tone, which was immensely refreshing. This band fucking meant what they were saying.
In 2019, now down to three core members, the band released their second and final album The Seduction of Kansas, a forward-thinking album that incorporated Dance-Punk and Disco. That album was very special to me and I listened to it constantly, so you can imagine my sadness when it was announced that “Priests,” as well as their own record label “Sister Polygon Records” was going on an indefinite hiatus. However, this wasn’t the end for lead singer Katie Alice Greer. In fact, this was only the beginning of a brand new chapter in her music career. After leaving D.C. and relocating to Los Angeles, California, Katie Alice Greer began working on what ended up being her solo debut album Barbarism, which was released in 2022. To this day I’m blown away by the sounds she created on that album. It’s noisy but catchy, it’s nightmarish but dreamy, and she delivers soothing R&B-inspired vocals on top of some Cabaret Voltaire sounding instrumentation. It’s incredible. Now, her new album Perfect Woman Sound Machine, Vol. 1 is out in the world, and it’s just as astonishing as her debut album. This album features even more interesting sound collages, but this time around she incorporates elements of Trip Hop. It’s a fascinating album. I had the opportunity to interview Katie Alice Greer about her new album, her creative process, her role in Ben Hozie’s upcoming film JACK LONDON CALLING, and much more.
Steven Sandoval: Your new album Perfect Woman Sound Machine, Vol. 1 is an album I’ve been listening to regularly since it dropped back in April. It’s fantastic, and much like your previous album Barbarism, features some very interesting soundscapes and sound collages, but on this new record I’m hearing more of a Trip Hop influence, which brings to mind bands like Massive Attack and Portishead. Was incorporating Trip Hop intentional, or was it something that happened subconsciously?
Katie Alice Greer: No, the musical influence was totally conscious! My first solo record was me getting every idea out of my head, every strange impulse or jagged-sounding low fidelity voice memo recording into a sound collage or beat. I was making it in quarantine and it was a record mostly for me, I didn’t think much about whether other people would be interested. So, once I got all that out of my system I was like… damn, I kinda wanna make music that other people might enjoy, too. Portishead have always been a North Star band for me, a guiding principle in music-making. I’ve never intended to sound exactly like them (wouldn’t mind if it happened, incidentally) | just resonate with their production approach and their influences. This record sounds nothing like Portishead obviously but it’s probably the closest I’ve gotten.
Steven Sandoval: The album’s opening track “Expo ‘70” is an infectious Psychedelic Pop tune that’s both dreamy and melancholy. I read that it was inspired by the 1970 World’s Fair. How did Expo ‘70 inspire you to make this track?
Katie Alice Greer: I was browsing Reddit one night and found a post on r/bizarrebuildings called “1970 Osaka Expo was weird,” https://www.reddit.com/r/bizarrebuildings/comments/qzyvv7/1970_osaka_expo_was_weird/ and it had all these images of buildings that looked like they could’ve been stills from a Tarkovsky movie about the future on an imaginary planet. Some look like apartment buildings made out of jungle gyms for adults and there’s one building that has a face on it and looks like a live action studio ghibli set piece. So of course I had to learn everything I could about the Osaka world expo in 1970. I found these beautiful posters Yasaku Kamekura designed, and felt inspired by the event’s theme: progress and harmony for mankind. Every country submitted designs and ideas meant to imagine a kinder, more efficient and harmonious world. It made me a little sad, thinking of all these hopeful 70s people who’d eventually get their hearts broken by the trajectory of how things are going as of late! The song is a dash of retrofuturism, me wondering if we’ve so lost the plot as a species in 2026 that maybe we ought to look backward or close our eyes and imagine something better again.
Steven Sandoval: What I’ve always admired about your lyrical style is your ability to speak on various important topics through the point of view of different characters you’ve created. In the case of “Unglued,” this character expresses how they’re always wanting more. Is this commentary on consumerism and societal greed?
Katie Alice Greer: Well first, thanks! I like making up characters. Sometimes speaking through that lens feels more honest than trying to synthesize all my thoughts and experiences into one fully formed truth representative of me as one individual. “Unglued” was inspired musically by me randomly hearing a really unhinged Guided By Voices song and wanting to create something similarly primal and unconcerned with restraint. I tried to channel energy from one of my favorite live albums, The Day the Earth Met Rocket From The Tombs – Live From Punk Ground Zero, Cleveland 1975. I realized I was lyrically riffing on the idea of insatiable wanting. Greed, I suppose. It’s not too interesting to me to say “greed is bad,” but I do like wondering what informs our greed. Is it even greed in our increasingly barren landscape, where everyone’s sense of scarcity is more rooted in reality than ever before? I can’t answer this question but I do think the societal sense that there isn’t enough to go around partly informs a lot of the low-level grabbiness we all embody sometimes.
Steven Sandoval: Is it true you channeled the persona of your former band “Priests” for “Unglued”?
Katie Alice Greer: Yeah, sure. I think I found myself singing and writing more like I would for Priests when I was writing that song. Which I really do enjoy doing from time to time! But I need variety when I’m making stuff. The reasons why Priests isn’t an active band are more logistical than anything else. I think we always felt like we could make music however we wanted. But, it was definitely frustrating sometimes that no matter what we sounded like, people just called us a punk band.
Steven Sandoval: On the track “Talk To Leslie,” the protagonist apologizes for using someone else’s name to fill in a form. How did this song come together, and who exactly is Leslie?
Katie Alice Greer: A lot of the songs on Perfect Woman Sound Machine Vol. 1 came from writing some sketches for short stories, I didn’t think I’d end up turning them into songs because I had no time for working on music. I was working for a production company, for a celebrity, in food service, doing odd jobs. Making music requires so much free time for me, and I had barely any of it. One of the short stories taking shape was about an unnamed narrator who’d gotten someone named Leslie into serious trouble. They’d had a special bond, and the narrator’s carelessness made it impossible to pull off the plant they’d carefully developed, which involved tax fraud. While this had negative consequences for both parties, it was Leslie who took the lion’s share of the punishment. The narrator doesn’t realize it at first, but Leslie, being locked up, is so furious with the narrator that she won’t even communicate. The narrator is completely obsessed with Leslie and, so deluded by their obsession, they can’t even acknowledge that Leslie wants nothing to do with them. This song came together the way most of mine do: slowly, and without much premeditated intent. I can only sort of let songs or anything I make take shape the way they’re falling out. I can’t really sit down and say “I’m making a song about this or that”. The songs themselves decide what they’re about.
Steven Sandoval: Your cover of “I’m Your Man” is a spacey and hypnotic reimagining of the Leonard Cohen classic. What compelled you to cover that song?
Katie Alice Greer: I adore Leonard Cohen. November 7th 2016 was a bad day for us as a species on planet earth – not only did we realize Donald Trump would be leader of the free world, we also learned of Leonard Cohen’s departure from this realm. I’m sure I wasn’t the only one thinking, I get it, man. You don’t wanna stick around for what will surely be an enormous drag. I’m glad he hasn’t had to deal with all the bullshit of the last ten years. I’m grateful for his documentation of his time on this realm. He taught so many of us how to respect the human experience enough to write it down without being embarrassed of the smallness of your own feelings.
Steven Sandoval: What inspired the title Perfect Woman Sound Machine?
Katie Alice Greer: A novelty toy I got in a gas station in the desert. It was a little box with buttons you’d press and a woman’s voice would say really old fashioned ideas of things that make the perfect woman, like how she loves sports or would never go shopping again and just stay home and cook or “Would you like another blowjob?” It was funny in an old timey way. Probably would’ve pissed me off had I been a woman at a time where I still felt heavily persecuted by this mentality, but I just don’t spend my time around people who think about women in this way. So instead of feeling insulted by it, I thought it was such a commanding combination of words. Good enough for a great title.
Steven Sandoval: How does writing solo material differ from your creative process when you were with Priests?
Katie Alice Greer: Priests, or any collaborative work, is totally informed by the participants’ experience, predilections, and the way each person’s contributions are in conversation with each other. The limitations are inherent to the shared Venn diagram of taste and experience the team has. Solo work means you can make whatever you want, or at least are guided by the hubris of your lone wolf mentality, thinking you can just make anything, that nobody is gonna stop you. It ends up being a very solitary journey. This album was less of a solitary journey than Barbarism, because I was working with Meg Searl as producer and collaborator. It was fun to find our shared sense of sound. She comes from professional studio world, working for big name producers on pop records. She studied audio engineering at school. I come from scrappy home studio figure-it-out-as-you-go punk world. So it makes sense that a lot of our shared sonic middle ground was trip hoppy stuff like Portishead, where you can scratch both itches.
Steven Sandoval: You announced back in April that you were in search of musicians to join your live band, and not too long after that you had a full band assembled. How did that process go, and how has your experience performing with your new band been thus far?
Katie Alice Greer: I felt so grateful and honored that so many people reached out about jamming, I think I got really lucky but also maybe it’s a sign that like me, lots of people are in search of creative connection and collaboration these days. I think we’ve seen a continued fracturing of third spaces, where people can organically meet and share experiences, since the pandemic. The west coast based band was simply the first people who responded to my post, who ended up all working out really well. Ryan, on guitar, also has a project called Coffin Prick who I just saw open for Tortoise in the desert this past weekend. His guitar playing is so masterful. He’s such a great collaborator, always attentive to what the band leader wants. But, I usually didn’t have a ton of feedback because I love hearing how he plays. All 3 of those guys are killer, I hope we get to play together more (show bookers, please invite us on your bills). My east coast band in New York are equally a bunch of ringers. Lilah Larson has long been a very dear friend and one of my favorite guitarists around. Daniele from Priests played bass, which was such a joy for me. And Blaze from the band Bambara played drums, we’d only just met but I already adore him too. I feel blessed by a wealth of brilliant talent whenever I get to play with other people.
Steven Sandoval: You moved to Los Angeles, CA from Washington, D.C. back in 2020. How is the LA music scene compared to DC, and does LA have an impact on your creative process?
Katie Alice Greer: The punk/diy scene we all had a part in building around DC and the greater east coast in the 2010s was incredibly singular, I don’t think there will ever be another one like it for me. It birthed so much that I still see reverberations of in culture, sometimes even in the mainstream today. But community can be overwhelming, and when it starts falling apart it really breaks your heart. I moved to LA two weeks before the pandemic hit, and I wasn’t exactly disappointed when I realized we’d all be stuck inside for a while. I felt like I needed to internally reset a bit, go into loner mode for a while. I love it here in LA and I have great friends, but I don’t feel part of any one scene here in particular. I am a friend of many communities. And yes, being “solo” has a tremendous impact on my creative process. Everything is slower. I’m finally really starting to miss having a sense of community around me. But, it isn’t something I’ve found I can just summon, or visit, it happens as something you’re building and something happening around you when you least expect it. So, maybe one will emerge around me as something I’m contributing to again, or maybe not.
Steven Sandoval: I want to ask you about your veganism. How important is veganism to you, and what are some of your favorite vegan dishes?
Katie Alice Greer: I’m vegan yes but there’s lots of stigma around vegans so I don’t advertise it too loudly. There are lots of misconceptions about us. I personally feel like every person is the best expert on what should and shouldn’t go in their own body. I’ve eaten this way for probably around thirteen years at this point, and I’ve been vegetarian since I was a kid. It’s just easier for me to eat a less processed, plant-based diet. There is so much bullshit in the foods we eat, even if you don’t eat animal products. The food industry, like everything else in this country, is broken and poisons people. I love nature. I love animals. I don’t like eating stuff that harms the earth or animals, but I don’t think anybody loves that aspect of the food they eat and we’re all participants in capitalism and its evils whether we like it or not, there’s no full opting out. Just ways to interface with it that feel acceptable for you personally. I’m not really interested in judging other people’s paths of navigating their time on earth and I don’t have a ton of interest in their judgments of mine. We’re all imperfect human beings just doing the best we can. I like putting stuff in my body that makes me feel good both physically as much as ethically. Being vegan isn’t the only answer. There are ways to be vegan and eat like shit, too. But it’s a guideline that works for me. I am a total sucker for great instagram food content. Love when they do the little video edits that make it look like they cooked a tofu paprikash in thirty seconds, do it again! Stuff I’ve made lately includes barbecue jackfruit, oyster mushroom tacos, nachos (I love good nachos), and Honey-Hi inspired greek gigante beans. I really love Greek food.
Steven Sandoval: You’ve announced that you will be starring in Ben Hozie’s upcoming film JACK LONDON CALLING. Can you tell me more about the film?
Katie Alice Greer: Yeah! This is the main creative project I’m focused on and excited about right now, mostly because it’s a little different for me. Ben is a wonderfully ambitious filmmaker. His last feature, PVT CHAT, is so nuanced and thoughtful. He gets such brave and honest performances out of his actors. I’ve done a little acting over the years and it was my main passion for a time as a kid, I did a movie called What Is A Group? with lan Svenonius a while back, and had a recurring role in Mike Cuenca’s Boys About Town series last year. So I was thrilled when Ben reached out asking if I wanted to read a new script he had. Ben has a great band called Bodega and we ran in the same circles when I was doing Priests. Jack London Calling is the name of my character Sue’s new band. She’s navigating the modern underground music/artist landscape and all the challenges of it that so many of us are familiar with. The storyline has a bit of a Pride & Prejudice influence that I also loved, as a fan of romcoms and stubborn women protagonists. Sue is a total hot head, she’s really passionate about her work, and maybe sometimes lets that override her better judgment interpersonally with her relationships. She’s got a bit of a lone wolf mentality and we’re trying to see if she can let people in a bit, for her own benefit as much as the group effort. At one point she gets into a debate at a rave about how much Al sucks for artists. Probably to the surprise of no one, the character wasn’t hard for me to relate to. I really felt for her. I’m looking forward to working with all these talented people involved in the project and getting out of my comfort zone. I think for Ben, it’s exciting to have a project where he’s able to pull people from his music world (real musicians from bands like Bodega and Gustaf will be in the film) and film world together into the project. I’ll be back on the east coast for a few weeks in August when we start filming. Movies are even more expensive than making records, like enormously more expensive. People are impressed these days when an independent movie is made for less than a couple million. We are hoping to raise $50k with this fundraiser, https://www.gofundme.com/f/jack-london-calling-romantic-indie-film-by-ben-hozie this is what will make it possible for all of us to work on the movie. I gotta pay rent while I’m not home.
Steven Sandoval: Will there be a Perfect Woman Sound Machine Vol. 2?
Katie Alice Greer: There is more than enough recorded material for a Vol.2. I just need to make sure that it feels like a cohesive narrative for me, enough to release it all together. The likelihood of a sequel is strong.
Unlikely musical collaborations can sometimes be the most pleasant surprises, and in the case of Electronic supergroup “TOMORA,” two artists from two completely different worlds come together to create some enticing dance music. After appearing on various festival lineups, the identities of “TOMORA” were a mystery, until the group was officially announced in late 2025. The duo consists of Tom Rowlands of the iconic Electronic duo “The Chemical Brothers,” and Norwegian singer/songwriter Aurora Aksnes. Together the two have released their debut album COME CLOSER, and this album has some irresistible tracks. The melding of the duo’s differing styles works quite well. Tom Rowlands’ input is noticeable as he incorporates elements of Big Beat, Techno and Breakbeat, all genres often associated with “The Chemical Brothers,” and this is cleverly combined with AURORA’s brand of ethereal Art-Pop, which creates a cinematic and beautifully dramatic atmosphere as we the listeners dance our asses off. However, being 55 minutes in length, this album could’ve been a more solid release had the fat been trimmed. Not all these songs work. The album is at its best when the high-energy and more upbeat tracks hit. “RING THE ALARM” is a riotous banger that uncompromisingly attacks the listener with obnoxious, but rather catchy intensity, “SOMEWHERE ELSE” is a dancey and euphoric earworm, and “I DRINK THE LIGHT” is a dreamy tune that sounds straight out of the late 90’s or early 2000’s, but the more downtempo tracks are a bit drab and unimaginative, and when the excitement wears off, the comedown is hard. Which is frustrating because the duo is capable of crafting a good slowed-down tune. “A BOY LIKE YOU” is a hauntingly moody Trip-Hop track that absolutely needs to be featured in a movie or a movie trailer, but most of the album’s slower tracks lack that engaging style. This album isn’t perfect, but it has more good than bad, and it’s always a pleasant experience when two worlds collide in a way that works.
About 4 years ago vocalist/producer Katie Alice Greer released a very forward thinking debut album that combined Art Pop, Experimental Rock, Post-Industrial and a myriad of different sounds and styles that don’t normally work together, but somehow worked on this record. This album, which is titled Barbarism, is still unlike anything I’ve heard in music before. It’s filled with Hellish and at times, dreamy soundscapes that give the listener a nightmarish experience, but all while maintaining a sense of comfort, and providing a place for those of us fearful of the direction the U.S. is heading in a place to vent. Now, 4 years later, times are even scarier, and Katie Alice Greer has released her sophomore album Perfect Woman Sound Machine, Vol. 1. This album is no less forward thinking, with its fantastic sound collages and layers, but this album is even more all over the place in the best way possible. Jumping from the grungy Babes in Toyland-esque “Unglued,” to the Trip Hop influenced tracks which wouldn’t sound out of place on a “Tricky” record, to the stellar cover of Leonard Cohen’s “I’m Your Man,” this album is pure chaos, but a necessary chaos as it goes from lush and dreamy, to the soundtrack to the apocalypse as KAG conveys a myriad of emotions. Hey, people experience various emotions and the human brain is multifaceted, so why shouldn’t music reflect that? It’s impressive what sounds KAG can create, which is more experimental in nature and a massive departure from her former Post-Punk band “Priests,” who were fantastic by the way, I still listen to The Seduction of Kansas regularly. Judging from the album’s title, I’m assuming there will be a Vol. 2, and if that’s the case I cannot wait to hear it!
Four years after their debut album BLUSH, London trio and Windmill scene affiliates “PVA” have returned with their second full-length album No More Like This, and it’s a more developed version of the Industrial-tinged post-club sound featured on BLUSH with instrumentation more focused on making you feel than making you dance. The Downtempo and Trip Hop elements complimented by lead singer Ella Harris’ deadpan almost spoken word vocals bring to mind a band like Massive Attack. This album is rhythmic, atmospheric and somber in tone with a heavy emphasis on either consistent instrumental repetition or instrumentation that builds and builds but maintains a steady flow instead of bursting out into an all out dance party. However, with how brilliantly produced these tracks are, I feel like much of this album would be complimented more if the vocals didn’t always sound deadpan and carried the same weight and emotion as the instrumentation. The talk singing makes sense during the album’s more anti-melodic moments, but there’s some tracks with dreamy synth lines that just feel a bit underwhelming when contrasted with Harris’ subdued vocals. The track “Anger Song” finds Harris giving us a more passionate and luscious vocal delivery which at times frustrates me that the album doesn’t feature more of that, but even with that critique the album is still an enjoyable listen, and it’s interesting hearing the direction all the Windmill alumni are going in.
When going into a King Krule album you can always expect to be emotionally and mentally exhausted when coming out of the album, and I mean that in the kindest way possible. Archy Marshall under the “King Krule” moniker has had quite the evolution in recent years. Going from his early Jazz-oriented sound to his smooth Trip-Hop style of his music under his real name Archy Marshall to 2017’s critically acclaimed The OOZ, one thing has remained certain, Marshall will always wear his heart on his sleeve and be uncompromisingly honest, resonating with countless people whom find solace in his moody introspective reflections and worldview, people including myself, but that doesn’t exempt him from criticism. As a matter of fact, I was quite critical of his last album The OOZ. Though the album featured some of his best work, it was frustratingly bloated and extensive, and would have been a more solid and cohesive effort had he trimmed the fat. The length and unfinished filler tracks that littered that album are what keeps me from listening to the album in it’s entirety whenever I revisit it, but where that album faltered, Marshall took those misfires and improved them immensely on his new album Man Alive! This album is a massive improvement and has a reasonable length. Marshall continues to experiment with the abstract, the genre blends of Post-Punk, Jazz, and Hip Hop, and his lyrics are as introspective and poetic as ever. Following the birth of his son, Marshall is naturally in a different spot in life right now, which explains the more optimistic tone that combats much of the album’s despondence. For those moments where Marshall delves into the pains of solitude, he carries a light of hope. The blend of saxophone-driven Jazz but not your Father’s Jazz and artistic Post-Punk with Marshall’s rough and gruff vocals is what we’ve come to expect at this point, but where much of the tracks that found him going in that direction on The OOZ sounded like unfinished vignettes, that sound is perfectly honed and fully-fleshed out on Man Alive! and like I said earlier, this album is filled with introspection, poetry, and swagger that evokes the same cool spirit of artists like Tom Waits or Nick Cave. Lyrically the album deals with themes of losing connection with people, solitude, the state of our technology-driven world, addiction, and most importantly, the love he feels for his partner and his newborn son. That’s where the optimism lies, and it’s nice to see Marshall acknowledging the light after much acknowledgement of the melancholy. This is by far his best work.
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