We’ve now reached our August review, aka 2/3 of the way through our search for the best 21 albums of 2021!
To recap for newcomers, I’m listening to new releases each month, sorting them into yes/maybe/no, and then I’ll do a final shakedown to get the best 21 after the year ends. If you missed our previous installments, you can find them here:
This is one of three music-related blog series I’m doing this year. We’re at the halfway point of my ongoing review of critic’s choices for the best albums of the 2010s, and the final installment of my review of the critic’s consensus on the 20 best albums of 2020 is here.
Before we proceed, a quick note about the three categories:
Yes– These are the albums that, based on my initial listen, are in definite contention to be considered for the 21 best albums of the year. As of the end of August, this list was up to 169 albums, so ever survivor for the final 21 will leave 7 dead companions in it’s wake. En garde!
Maybe– These are albums that had definite strengths, but about which I have some reservation. I’ve noticed over the years that sometimes “maybes” linger, so I’m giving them a category just in case.
No– These albums are not in contention. Some of them deserve discussion, though, which I note.
And with that, let’s get on to the 98 new releases I listened to for August!
Billy Childish/Wild Billy Childish & CTMF/CTMF, Where The Wild Purple Iris Grows– English painter, author, poet, photographer, film maker, singer and guitarist delivers blistering punk/garage with hints of rocakbilly, and 80s-style folk-punk. And there’s a stinging blues-drenched Dylan cover to boot! I can’t believe I hadn’t heard of him earlier (he’s been kicking around since the late 70s), because what he’s doing is right up my alley!
Brian Setzer, Gotta Have the Rumble– This album sees Brian Setzer getting back to his rockabilly roots, and damn is he good at it. While totally honoring the source sound, it also isn’t a slavish copy, so somehow sounds contemporary and varied.
Bruiser Wolf, Dope Game Stupid– Vocally and lyrically unusual, surrealistic, smart, and sometimes downright hilarious hip-hop. It deals, as many albums do, with the street life and the drug trade, but sounds nothing like every other album while doing it. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
Divine Horsemen, Hot Rise of an Ice Cream Phoenix– That’s a hum-dinger of an album name! Apparently the band is a veteran of the punk/alt country LA scene of the 80s. It’s definitely got that cowpunk sound, but also with interesting touches of metal and psychedelia here and there, poetic lyrics, and an interesting interplay between the male and lead vocalists, a little reminiscent of X. It sounds a little of an era, but it also sounds damn good, and not a single track goes awry.
For Those I Love, For Those I Love– This is kind of fascinating, a varied and interesting electronica background, thickly accented spoken word vocals, and sometimes searingly personal lyrics. Irish producer and songwriter David Balfe produced this response to losses throughout his life, including the 2018 suicide of his long-time friend and musical partner Paul Curran, and Dublin’s struggles as well. It’s powerful. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
GA-20, Try It… You Might Like It! GA-20 Does Hound Dog Taylor– GA-20 are a band of blues revivalists from Boston, and are here covering songs by 70s Chicago bluesman Hound Dog Taylor. The sound leans toward the electric, rocking, chaotic side of blues, and I love just about every second of it. This is one of those things that reminds me you how vital the blues can still be.
Geoffrey O’Connor, For as Long as I Can Remember– Like a lost era of Bowie. Like the blue-eyed soul end of synth pop. Vocally and musically cool, smooth, and alluring. A bunch of duets with other Australian musicians, including my new obsession Sarah Mary Chadwick. This is really very fine.
Halsey, If I Can’t Have Love, I Want Power– Trent Reznor produced, but I’m not sure I would have noticed had I not known. There’s definitely a musical and lyrical edge to what is otherwise pretty solidly a dance music album. But, a really good dance album, and then with that edge to it, better still.
Jake Bugg, Saturday Night, Sunday Morning– I went in to this skeptical, as he seemed way too pretty, so I was fearing some British boy band action. Shame on me, because he brings it! Yes, it’s pop oriented (and hooky as all get out), but in a way that shows traces of the Beatles, flourishes from electronica, some genuine emotional wrestling with darker topics, and other marks of sophistication on top of solid pop chops. Pop will always be with us, so we can certainly hope it will sometimes be this good.
James McMurty, The Horses and the Hounds– This Folk/rock/alt country veteran from the 80s, brings stripped down music, ragged vocals, and lyrics that are so sincere and on-point that they’re almost klunky (but in a charming way). He tells visual stories here in a way that country excels at, and the music is rock-country heartland solid.
Jennifer Hudson, Respect (Originial Motion Picture Soundtrack)– The source material is great (representative of periods throughout Aretha Franklin’s career) and the performances by Jennifer Hudson are strong. The natural objection might be: Why not just listen to an Aretha Franklin career retrospective instead? Well, yes. But the performances are great, and aren’t the kind of overly faithful musical drag that can derail this kind of effort. So if it were an album of Jennifer Hudson covers of a few generations of soul classics, wouldn’t I consider it? Yes I would!
Justus Proffit, Speedstar– Sunny guitar rhythms and 60s/70s production swirls belie lyrics with darkness and bite. There’s a lot to appreciate here. Also, the cover may give you nightmares, so there’s that.
Liam Kazar, Due North– This debut solo effort by a midwestern veteran of hip-hop and indie rock bands puts one in mind of the funkier and swingier side of 70s rock/singer-songwriters. It’s pure AM radio gold the whole way through.
Lorde, Solar Power– Wishing the album after one you really like was just like the one before and being dismayed that it’s not is an old, old, album appreciation trap. I’d encourage you to not fall into it in this case. If the Lorde on display here musically and vocally is, at first blush, less incisive and in your face than on Pure Heroine, she is in many ways more subtly disruptive and more surprising here. There are discoveries awaiting on every track, and if they’re not the ones we’re expecting, well, isn’t that how discovery is supposed to go?
Mae Powell, Both Ways Brighter– Bright melodic music, stripped down almost naïve vocals, charming and intelligent lyrics painting vivid pictures. There is nothing here not to like. The San Francisco references are a nice plus too!
Martha Wainwright, Love Will Be Reborn– Many an artist has done a moving, even heart-rending, post-divorce album, but few find the subject matter so suitable to their native talents. I’ve loved Martha Wainwright since her 2005 debut album, and the reason why is amply on display here. Rich music, yearning vocals, and lyrics that are genuine, bitter, and hopefully vulnerable all at the same time.
Media Jeweler, The Sublime Sculpture of Being Alive– This Los Angeles band has put out an album that feels like the more abrasive and twitchier side of 80s new wave and post-punk. The music is a great fit to the lyrical focus on media and manipulation. You’ll hear some Devo here, some early Oingo Boingo, some late Minutemen. I love ever weird, and weirdly profound, second of it.
Rodeola, Arlene– Between the name of this folk-rock band from Bloomington, Indiana, and the album name, I was hoping for something country-oriented. And it is, but in an unusual, beautifully instrumented lush golden slow pop kind of way. Listening to this is like eating wild honey. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
Rosie Tucker, Sucker Supreme– Bubbly pop with a rock guitar edge and sweetly delivered lyrics with bite. Shades of Liz Phair, shades of Juliana Hatfield. These are shades I’m a sucker for! (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
Sepultura, SepulQuarta– Sepultura is a Brazilian metal band that’s been chugging along since the 80s. This album is mostly in a thrash metal kind of vein, but apropos of someone that’s been around for that while, you will hear traces of all kinds of eras/styles of metal along the way. And it stays dynamic, interesting, and heavy, even at the hour run length. It especially warms my heart to find a solid metal album, so huzzah!
Shannon & The Clams, Year of the Spiders– This is definitely one of those times when I’m almost ready to sign off just based on band name alone. I’m so happy, that on top of that, there’s a swinging retro-mix of 60s girl groups, the minor chords side of 60s pop, and psychedelia that I really love. And lead-singer Shannon Shaw is a power-house!
Sturgill Simpson, The Ballad of Dood and Juanita– This is the kind of “extended story” country album that you might have found coming out of Outlaw Country in the 70s (as if to prove the point, Willie Nelson appears on a track). It is ridiculously well done, vocally and musically straight up, country music story-telling in top form. It’s hard to believe he’s contemporary since the sound is so classic, but this is his seventh album, and sounding classic is apparently kind of his forte.
Thalia Zedek, Perfect Vision– A veteran of several 90s alternative rock groups that never really made it above the underground, Zedek is a power here. You’ll find minor chords, haunted lyrics, stripped down yearning vocals, and music with rock and country overtones. She has a poetic sensibility that reminds me of Patti Smith at times, and musically it reminds one of a certain elegiac vein of grunge as well. And on the tracks that really great rocking it’s thrilling! All-in-all, it really is kind of a perfect vision.
The Bug, Fire– I mean, you start off with a narration about robots and prisoners, I’m intrigued. This is like, heavy electronica, with a strong dub influence- stomping metallic beats, synthesizer as its own form of percussion, rapid-fire lyrics full of looming apocalypse. Excellent from start to finish.
The Killers, Pressure Machine– I really liked the burned-out but glitzy sleaze rock of the Killers when they first came out, but haven’t followed them closely since. So I was surprised by this-something much more haunted and introspective. It reminds me, of anything, of Springsteen and the “America-obsessed” era of U2. These are tales of small-town desperation, and feel like where the sleazy glitzy lives of their early work end up washed up. Or were trying to escape from in the first place. It’s pretty powerful.
The Umbrellas, The Umbrellas– Great shimmery twee-pop. A hint of 60s, the sunnier side of 80s alt guitar rock, and the trade-off between male and female lead vocals works well for them. I’m not just saying this because they’re a Bay Area band, although I am always pleased to find something great by a Bay Area band!
Ty Segall, Harmonizer– Full of surging guitars, hints of garage, psychedelia, and glam, and idiosyncratic electronic music tricks, these deconstructed songs have melody and just enough grating to keep you on your toes. With all this, and sharp, urgent vocals, and lyrics, this is smart, challenging indie rock! As with Billy Childish earlier above, I feel like somebody should have told me about Ty Segall long before now!
Wanda Jackson, Encore– What do you do when you’re an 83 year-old rockabilly legend? You write some whole new songs, go into the studio to record them, and get Joan Jett to produce, that’s what! And it is rocking, spirited, and freaking excellent. May we all still be so on top of our craft at that age!
Water From Your Eyes, Structure– The first track is sweet twee fun, it gets more electronic and darkly textured from there. And then, eventually, arrives at a kind of synthesis of them. It gets a tad grating, in the post-rock experimental kind of way, but often melodic and quirkily interesting. I kind of loved it more as time went on. Well done rock duo from Brooklyn!
- Akai Solo, True Sky– This hip-hop album by a Brooklyn musician has a kind of metallic drive to it, and syncopated musical rhythm. It reminds me, favorably, of the sound of Madvillain. Though lacking a little in vocal dynamism, it’s full of positive affirmation of being, and unusual, interesting mix choices. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
- Big Jade, Pressure– I was a little flummoxed by this. It was the kind of bragging through cursing out others brand of hip-hop that I usually pass on. On the other hand, the gender inversion of how she does it is interesting, and the vocal stylings are strong and dynamic. There’s also a certain self-awareness in the unpleasantness of the character she puts forward. I can’t dismiss it! (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
- Bnny, Everything– This was a literal maybe for me, as it kept veering between a “yes” and “probably no”. On the “yes” side, her low-key vocals, minor chords, intensely emotional material and forays into different genres really caught my attention. On the “probably no” side, there were stretches where the whole thing got too muted for too long. But the affecting parts were so affecting, I never gave up on it!
- Boldy James/The Alchemist, Bo Jackson– Detroit hip-hop artist Boldy Jackson partnering with DJ/Producer The Alchemist, who seems to have partnered with everyone the last year or two. It’s lyrically rich, vocally lively, and musically full. But it is about the drug trade/street life and does fall too easily into misogyny, both in cliched ways, which is bumping it out of “yes”.
- Chorusing, Half Mirror– A synth base overlaid with a kind of spare, haunted, even melancholy, folk and country soundscape. My reservation is its tendency toward being muted, but this brainchild of North Carolina-based artist Matthew O’Connell is affecting in a way that stays with you.
- Connie Smith, The Cry of the Heart– Connie Smith is a real-life old time country singer. And that’s what this album sounds like, in the best kind of way. My only hesitation is that it sounds a little dated, but that’s also kind of the point! Heartfelt, and nary a song misfires on the way.
- Evan Wright, Sound From Out the Window– From the dark and discordant side of psychedelia, mixed with hints of syrupy 70s pop and some modern electronic music production. It’s very low key, which is my reservation, but has rich depths.
- Indigo de Souza, Any Shape You Take– This sometimes sounds lyrically and vocally young, which makes sense since this North Carolina-based singer-songwriter is 24. But most often, it’s really striking. It comes from a dance/pop direction, but livened by an indie rock approach, with a powerful edge musically and vocally. She’s definitely someone to keep an eye on, and the only reason it’s not an automatic “yes” is the unfortunately autotuned and conventional opening track.
- Jana Rush, Painful Enlightenment– Chicago based DJ Dana Rush is also, apparently, a chemical engineer and a CAT-scan technician. What she’s made here is somewhere between moaning blues, hot jazz, dub beats, and experimental electronica. At times it was a little too experimental, but it never quite let me go. It’s not like anything else you’ll hear this year, and it demands attention.
- Laura Stevenson, Laura Stevenson– Emotional yearning vocals and lyrics, loud and then quiet guitar and vocal surges. This sounds for all the world like a 90s songstress. I’m a sucker for 90s songstresses! It does seem a little uneven in pacing, which is perhaps my only reservation.
- Leslie Winer, When I Hit You, You’ll Feel It– Metallic beats, vaguely sinister spoken and whispered vocals, spare but driving musical backing, interesting sampling, and a poetic lyrical bent focused on issues personal and societal. Winer is a former model and close friend of William S. Burroughs, and has been involved with music off and on since the 80s. I’m not sure how I never heard of her before this, but this is something! Perhaps a tad deliberately discordant for regular listening? But worthy of attention.
- Nathan Salsburg, Psalms– These are Pslams as in the actual Psalms, as in the Hebrew scriptures. In Hebrew, set to some fine acoustic guitar settings by this Kentucky-based folk musician. All right, you’re going to think I’m crazy, but it kind of works! They were always meant to be set to music after all, and the language barrier here helps weave the sacred spell. It’s from left field, but I have to call it a maybe!
- Rosali, No Medium– There’s a horse on the cover, so you might think this has a country sound. It does in a way, but in an indie folk/rock vein with a guitar that keeps veering heavier, and sharp clear lyrics and vocals that remind me of Aimee Mann. I like being reminded of Aimee Mann. It tends toward being a little too same track to track toward the end, but is a strong entry regardless. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
- Steve Gunn, Other You– Brooklyn-based singer-songwriter with a rich golden 70s sound- everything here sounds familiar, like that song you almost remember from childhood. The only reason it got docked from “yes” is that the next to last track is an extended slow instrumental, and then it ends on a good, but very low-key vocal number. Deflation right at the end!
- Toyomansi, No More Sorry– Naming your band after a fish sauce from the Philippines is a good start. Turns out he’s a “musician and culinary artist” based out of Baltimore, and this is a pretty well-produced DJ/hip-hop album. Sometimes the production tips toward too 2000s conventional, but much more often the soundscapes are unique and arresting. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
- Turnstile, Glow On– Multiracial hardcore band from Baltimore. I like them more when they’re in a metal vein than punk, but they’re solid either way, and the songs have a lot of variability. There are also some surprising pop and classic rock moments mixed in. It leans a little formulaic, which is what’s keeping it from “yes”, but it kept almost winning me over.
- Wednesday, Twin Plagues– The squeal, the fuzz, the distortion of electric guitar, how I love you. And female vocals make it even better! The sound here is mostly in a My Bloody Valentine, Jesus and Mary Chain vein, with more than a hint of early Sleater-Kinney thrown in, but sometimes it goes in surprising directions- there’s even a country-tinged ballad. It seems a little unfocused to be an automatic “yes”, but I do like what it’s doing.
- After 7, Unfinished Business– If you like 90s-style light and shiny R&B, this could be for you. Not enough substance for me to think it might be year’s best.
- Alejandro Escovedo, La Cruzada– He’s been playing since the 70s, and he’s very good. At the end of the day, the production was a little too slick, and the language barrier was too formidable for this to make it to year’s best for me. Which is definitely more my failing than his!
- Anderson East, Maybe We Never Die– No question, this is well-made, and his combination of country and R&B sounds passionate and smooth. It ended up a little too smooth, a little too “big produced album”-sounding to really stand out.
- Badge Epoch, Scroll– Veteran of multiple solo personas and member of indie rock groups Max Turnbull self-describes this as “a cosmic hodge-podge of funk, jazz, ambient techno, aggressive guitarmonized rawk, musique concrète, and hip-hop.” He’s right, and it is often very interesting, but I’m just not sure it is 90 minutes worth of non-stop interesting. As a primer of sound possibilities, though, there’s a lot here.
- Big Red Machine, How Long Do You Think It’s Gonna Last?- This is a kind of indie supergroup, or at least a collaboration between memebrs of Bon Iver and The National. They’ve also chock-filled with it guest stars as far flung as Fleet Foxes and Taylor Swift. Maybe this is the inevitable fate of supergroups, but a lot of it ends up sounding kind of blandly 80s. The mix of elements is promising, but it just doesn’t add up to something that can really hold one’s attention.
- BIG/BRAVE, Vital- I appreciate the shambling feedback-laden rock, and the desperate and intelligent shout of the lead vocalist. Unfortunately, it turns muted to the point of being almost ambient in the middle. Like much of the most interesting and challenging rock of the day, it’s Canadian. I think it could have been a yes without such a long deadzone in the middle. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
- Bob’s Burgers, The Bob’s Burgers Music Album, Vol. 2- If you’re a Bob’s Burgers fan (and why on Earth would you not be?!?!?!) this is pure delight. But it’s a little off category for “best album of the year”. Listen to it anyway, though!
- Brian Jackson/Ali Shaheed Muhammad/Adrian Younge, Jazz is Dead 008– I keep hearing things are jazz fusion that then turn out to be less fused than I’m looking for. For jazz fans this might be dandy though.
- Cerebral Rot, Excretion of Mortality– You want your music to be brutal and heavy? Good! Your songs are all about rot and decay? Even better! But the growling doom vocal style where nothing can actually be understood, well, it detracts from the effect. To properly horrify, one must be heard! (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
- Chris Young, Famous Friends– Contemporary pop country doesn’t really go somewhere. But as far as contemporary pop country goes, this is pretty good.
- Chvrches, Screen Violence– This outing by a Scottish synth-pop revival band started out very promising, but it soon became a little too Katy Perry/Taylor Swift for my taste. I mean, they’re both great in their proper setting, but they are already them, so we don’t really need more.
- Creeper, American Noir– It’s a nice horror-themed, emo pop goth kind of thing, but it never really gets beyond that.
- Damon & Naomi/Michio Kurihara, A Sky Record– Well sung, well-instrumented moody synth songs. There’s nothing wrong with them, but it’s a little too all in one low energy range and same song to song.
- Dan Nicholls, Mattering and Meaning– Atmospheric keyboards with notes of dissonance. It’s too disembodied and abstract to really lay “great album” status on.
- Deafhaven, Infinite Granite– I mean, I heard “metal band originally from San Francisco”, and I was very intrigued. But they’ve gotten so into symphonic and melodic metal that they seem to have ended up in a kind of 80s synth alt/emo territory. It’s pretty and well done, but never rises above a certain level of energy or interest.
- Devendra Banhart, Refuge– Devendra Banhart is an indie rock powerhosue with many different modes. But this album’s one- almost ambient instrumental background music- is just not something I can get on board with.
- Field Works, Maple, Ash, and Oaks: Cedars Instrumentals– I mean, it was an instrumental album by an experimental musician inspired by trees. I knew it was probably going to be a no, but I had to listen. I do like trees!
- Harold Land, Westward Bound!– This is a kind of jazz I like, more in the hot torrid flow school. But I don’t see it rising up into “best of year” category.
- Jade Bird, Different Kinds of Light- This English folk/Americana aficionado delivers solid rock/pop energetic, vocally sparking, lyrically rich music here, but, especially toward the end, it dips into too-long stretches of low key tracks that sound the same.
- Joan Armatrading, Consequences– Her voice is powerful and unique as always, the music is driving, and the lyrics are a glorious celebration of love. But eventually it gets undermined by lyrics that are a little too spot-on, and an 80s production sound that ends up making everything a little too slick. It was a close call, though- she’s a force!
- Kenny Garrett, Sounds From The Ancestors– I knew this might be too “pure jazz” for my purposes, but I also knew it was in the fusion realm, with nods to African musical forms. It is sometimes really captivating when it does that, but not often enough.
- Khruangbin, Mordechai Remixes- Remix and re-sequencing of their 2020 album. I listened to the original as part of my 2020 search, and it was a little too mellow world beat jazz fusion for me. I did like these remixes a lot better, but it still didn’t add up to an album that held my attention.
- Kool & the Gang, Perfect Union- I don’t think it’s possible to have a bad time with Kool & the Gang, and this is a good time, even if there wasn’t a lot that was especially new, different, or above and beyond. Also, this album was completed just before the death of one long-time member, and released shortly after the death of another, so in a way it can be thought of as a memorial. It might not be one of the best things this year, but it’s a very fitting memorial.
- Kunzite, Visuals– You may have noticed that electronica is a hard sell for me. This was actually on a really good track though- dynamic, soulful, interesting. But it’s still hard to keep something almost entirely instrumental going for 50+ minutes, and it turned a little too conventional autouned 2000s soul in the middle.
- Liars, The Apple Drop– My initial vibe from this was kind of post-grunge. It reminded me of how much I love grunge, and what icy contempt I have for post-grunge.
- Lil Bean, Still Campaignin’– It does have lyrical complexity and positivity going for it, which is great. But ultimately the vocal styling is all too much in one vein, and it’s way too autotuned.
- Lingua Ignota, Sinner Get Ready– You know the weirder and darker moments of operatic rock? This is that at length. It’s a little too heavy and challenging to get the listenability required for “top album”, but it also doesn’t permit you to turn away, which is something. If nothing else, you should read-up on multi-media artist and classically trained musician Kristin Hayter, who is Lingua Ignota, and who has a whole lot of interesting stuff going on.
- Lucinda Chua, Antidotes (1 & 2)- London based singer, composer and producer, combines a 2021 EP with a 2019 EP for a full-length release. Beautiful vocals and subtle, muted instrumental music, but ultimately a little too subdued to really register.
- Madi Diaz, History of a Feeling- This Connecticut singer-songwriter delivers searingly personal acoustic/folk songs centered on the difficult feelings that come up in relationships. It’s sometimes quite affecting, but the first four tracks are curiously vocally and musically muted given the subject matter. It speeds up after that, and then it’s devastating and arresting. But five tracks in is too late to have that start to click in.
- Marisa Anderson/William Tyler, Lost Futures– This instrumental album by two American folk powerhouses is very good, but, well, entirely instrumental. I just don’t see it slaying hundreds of other albums to win a spot in the top 21 for the whole year.
- Mouse Rat, Awesome Album– Yes, Mouse Rat is Andy’s band from Parks and Rec. Yes, this is a collection of songs from the show, plus a few new tracks added. Yes, it somehow sounds better than most of what you hear on the radio now, even though it’s totally absurd. No, I don’t think it will be a best album of the year. Yes, it is delightful.
- Nite Jewel, No Sun– It’s pretty, it’s smart and well produced, but it’s way too same track to track.
- One Republic, Human – Uggghhh. Autontuned, overproduced 2000s pop par excellence. I grant you, it’s very radio friendly, but nothing like an actual human sentiment emerges from it at all.
- Only Up, Breeze– This is often very interesting, especially when it gets funky, but generally it’s too 80s alt/90s electronic throwback without anything really distinct to it. I see-sawed, but ultimately ended up on “no”.
- Quickly, Quickly, The Long and Short of It– This Portland based artist/musician is doing some really interesting things on the borderline of hip-hop/electronica/experimental. Ultimately, it gets a little auto-tuned and too similar track to track for me, but there are things here to take note of.
- Robben Ford, Pure– Instrumental, electric, bluesy outing from American blues, jazz, and rock guitarist Robben Lee Ford. It’s very good, but also as an entirely instrumental piece, and it’s hard to hang a lot on it ultimately as an “album”
- Scotch Rolex, TEWARI- A Japanese DJ living in Germany puts out an album with a UK label in which he works with avant garde African musicians. The modern world is really pretty amazing sometimes! It’s always interesting, but sometimes too grating/experimental for a consistent album experience. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
- Southern Avenue, Be The Love You Want– Memphis soul and blues band? I mean, generically, yes! In specific, they start off really strong, high-energy and distinctive. By and by, too many songs that sound like each-other and production that’s a little too slick starts to drag it down, but no question this is a fun and talented band.
- System Olympia, Always on Time– A solid enough electronica/dance outing from London-based artist Francesca Macri, but nothing grabs me to the extent that I think it might be “year’s best” material. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
- Terence Blanchard, Absence– It’s a pretty fine jazz album, I think. But it doesn’t get enough into the realm of musical forms I’m interested in.
- The Joy Formidable, Into the Blue– A Welsh alternative rock group, which is a promising enough description. And what they do is very solidly done, but it feels a little too smooth and not vital and real enough along the way.
- The Steoples, Wide Through the Eyes of No One- An avant-soul collaboration between two Los Angeles musicians, and that’s how it comes off- something obviously based in soul and R&B, but approaching it from a different direction, still smooth while also bristling with experimentation and unusual musical and production choices. It started off with a lot of promise, but ultimately too much of it was in one groove/tone, and the individual tracks started getting lost.
- Tinashe, 333- The opening track was off-kilter and promising, but from there it settled into the autotuned music/vocals school of R&B. There was more than a sign of sparkle here, but overall it doesn’t get out of that vein enough.
- Tropical Fuck Storm, Deep States– These are like solid pop-rock songs that have gone out of focus in a fun way- vocals and music tracks slightly out of synch, discordant edges to everything, a certain stuttering quality. Ultimately it proved a little too grating a little too often to be sustainable at album length, but it was interesting!
- Villagers, Fever Dreams- An Irish alternative rock group, which is a promising enough description. And what they do is very solidly done, but it feels a little too low-key/one-tempo to really stand out and get attention.
- Walt McClements, A Hole in the Fence– Has a kind of Eno- Lanois U2 sound. Entirely instrumental, pretty and atmospheric, but not enough content to make it to “great” in my opinion. It is pretty impressive for being entirely accordion-based though!
- William Parker, Mayan Space Station- This was almost the Fusion album that I actually like! Maybe because it was full of guitar distortion early on and sometimes reminded me of Hendrix. Later on it became a little more bubbling Jazz, speaking of which…
- William Parker, Painter’s Winter– This was too often the kind of bubbling jazz that just fades into the background for me.
- Wolves in the Throne Room, Primordial Arcana– Black metal band from Olympia, Washington? Count me in! And I mean, that name, come on. And let me tell you, the symphonic layered swell of their wall of sound is really something, but ultimately the totally opaque scream lyrics detracted too much from the process
- Yann Tiersen, Kerber– French musician and composer. It has a kind of Eno/Lanois feeling to it. Yes I said the same thing about another entry a few items ago. Ultimately it’s too ethereal for me to find anything to grab on to.
- Young Nudy, Rich Shooter– This is his second album out this year. Like the earlier one, DR. EV4L, there are the makings of a great, or at least a very interesting, album here, but too much of the rest of it is full of bitch and pussy talk. Alas!
- Yung Baby Tate, After the Rain– This is fun, and she has a lot of presence and personality, but I’m not sure in total that it rises above other dance/R&B outings this year to “year’s best”. (Full disclosure: This is not really an August release. It’s from a Pitchfork list of 29 albums you might have missed this year. No stone left unturned!)
And so, with a little under 10 hours remaining, we have finished the August review before the end of September. Onward!