June Quick Takes, Part 3: My Picks

And we’ve made it to the third installment of my June Quick Takes. Here we have the releases that aren’t necessarily the biggest name artists that I wanted to make sure I shared my thoughts on them. This will wrap up my scored coverage of the month of June. This will be followed by another round of quick takes for the month of July to get us all caught up to the current month, and I will hopefully be back to full album reviews in a couple weeks. But for now, check out my picks below from the month of June.

LuckyMe

BAAUER – PLANET’S MAD–Yes, this is the “Harlem Shake” guy, and while that song came out all the way back in 2013, this is only the EDM producer’s second full length album. And I would encourage you to not let “Harlem Shake” sour your opinion towards his music. I’m not really sure how to categorize the music that’s on this album. While he has moved on from the trap EDM of his earlier singles, there is still elements of it present. Specifically, some of the production here is beat-centric with minimal sounds outside of the percussion and bass, to the point of some songs having drops that are basically drums only. And these are mixed in such a way that they hit incredibly hard. There’s also a lot of world influence on some of these beats, giving them rhythms that almost compel the body to move. There’s even a track that dabbles in drum ‘n’ bass and the mandatory synthpop song. They’re not all winners, but it’s a very good album nonetheless. 4.0/5.0

Columbia

HAIM – WOMEN IN MUSIC PT. III–For their third album, the Haim sisters enlist the songwriting and production assistance of former Vampire Weekend member Rostam Batmanglij. This isn’t all that surprising because he worked on a few songs on their second album. But on Women in Music, he worked on the vast majority of the tracks. And his fingerprints are everywhere, to the point that several tracks sound like they could be Modern Vampires of the City era Vampire Weekend songs. But that’s not a bad thing! If you look back at my favorites from 2013, I hold up that VW album as one of the best of the decade, and the Haims obviously bring enough of their own influence to make this clearly one of their albums. In the end, this is a great pop rock album that is loaded with memorable hooks and enough left-of-center production to help it really stand out. 4.0/5.0

Earth Analog

HUM – INLET–I’ll admit that this is the first time I had heard anything from Hum. This album was surprise released back in June and I noticed a lot of people were really hyped on it. I gave it a try and I honestly liked what I heard. Their brand of alternative rock with thick, metallic guitar riffs was pretty cool. I was inspired to go back and listen to their ’90s albums and come back to view Inlet through a more contextual lens. And… my opinion of it decreased a bit. Don’t get me wrong, it’s still pretty good, but when you compare it to the albums from Hum’s peak, it comes across a little one-note and not quite as dynamic, even when compared to Downward Is Heavenward, the album closest to it stylistically. Again, this is still pretty good, but it could be better. Maybe, if this reunion lasts, a really great Hum album is in the future. 3.0/5.0

Dead Oceans/Night Time Stories

KHRUANGBIN – MORDECHAI–This is the third album from psychedelic funk trio Khruangbin. And as might be expected, the band does a good job of pulling off the sound of vintage soul and funk production with their songs. There are a couple tracks that have some really solid grooves and they even dabble in one or two world genres, like on the Latin influenced “Pelota.” But, the bottom line is that the majority of the album is just boring. Save for a few tracks, most of the songs are pretty slow burning tracks that don’t go much of anywhere over the course of four minutes or more. They just end up fading into the background and, before you know it, you’re one or two songs further down the track list. 2.0/5.0

Hospital

METRIK – EX MACHINA–I’m generally not much of a drum ‘n’ bass guy, but I do like a good EDM banger from time to time. And boy, does this new album from Metrik have some bangers. Metrik is an English producer who has been active for over 10 years. What impresses me about this album is that this is DnB music filtered through more modern EDM genres like dubstep and even synthwave. But there’s also an influence of rock music, like the driving verses on “Parallel” that recall down-stroked guitar rhythms, and the literal electric guitar on “Closer” and “Thunderblade.” The best tracks sound like a modern refresh of the kind of songs you’d find on the soundtrack of a ’90s Need For Speed video game. Unfortunately, the album is a little front-loaded with all the best tracks taking up the first half. That’s not to say the back half isn’t good, it’s just not as exciting as the first. 3.5/5.0

Dead Oceans

PHOEBE BRIDGERS – PUNISHER–In 2017, Phoebe Bridgers released her debut album, Stranger in the Alps. Almost immediately, other people wanted to work with her in some regard. Between then and now, she has collaborated in some way with Julien Baker, Lucy Dacus, Conor Oberst, Christian Lee Hutson, and The 1975. It’s like all these people recognized her potential and wanted to get on the Bridgers train before anyone else realized it. The thing is, it also appears that Bridgers realized the value of surrounding yourself with supportive and talented people. Nearly all of the people I mentioned contribute to this album in some way, and it’s that much better for it. Everything that made her debut great is improved and all the flaws have been fixed. The songs are personal and emotional and hit you just the right way, and they’re backed up with fantastic instrumentals. This is a real highlight of the year so far. 4.5/5.0

Night School/Thrilling Living

SPECIAL INTEREST – THE PASSION OF–Fair warning, this isn’t going to be for everybody, but if you’re into noisy industrial post-punk that leans more on the punk than the post, then you’re going to love this. I often say that some artists have a punk energy, but this band absolutely has one. They are always loud with lyrics that aren’t sung so much as shouted. Pulsing, unsettling electronic beats drive just about every song on the album, and they’re not afraid to let their drum machines distort or to throw in a little static to accompany their dissonant guitars. And the loudness and anger isn’t just an act. They come from the New Orleans DIY scene, and you sense that this is the product of a genuine, righteous anger. 4.0/5.0

Velvet Blue

STARFLYER 59 – MIAMI EP–Starflyer 59 is the indie rock project of songwriter Jason Martin, has been consistently active for over 25 years, and was one of the original bands on Tooth and Nail records. That translates to 15 albums and 9 EPs. Miami is the latest EP and the first in over 10 years, coming only a year after his last full-length album, Young in My Head. The track list has 3 new songs and 2 reworked tracks from the last album. Sonically, this is pretty much your standard Starflyer fare: guitar driven indie rock with influences from ’80s post-punk and alternative with the tiniest hint of Martin’s shoegaze roots. The only real deviation is a little flirtation with ’60s rock and roll on “Once More” filtered through the Starflyer sound. Martin’s consistency can end up being a bit of a curse rather than a blessing on longer albums, so this EP’s 19 minute run time keeps things from getting stale. If you’re not familiar with Starflyer 59, this is a good way to get introduced to their current style. 3.5/5.0

Sean’s Favorites: 2010

Let’s see, where was I in 2010? I turned 20 years old, I finished my first year of college, and would start my second. I did that thing almost every guy does and stopped getting haircuts and I would continue to grow my hair out for the next couple years. A lot of good movies came out and a couple would become all-time favorites of mine (Inception and Scott Pilgrim vs. The World). My interest in music was at an all-time high. I was pretty well-informed on indie and alternative music with a little help from MTVU (or so I thought). I started taking hip-hop music more seriously. And I was pretty humbled when I started reading Pitchfork and for the first week, I didn’t recognize a single artist they reviewed. But I wasn’t deterred, I just went deeper. Below are not only some of my favorite albums from 2010, but some that were important to me and my musical growth.

Nonesuch

THE BLACK KEYS – BROTHERS–This was the album that turned The Black Keys into a sensation. Not to be that guy, but I was into the Keys before they were cool. I was introduced to them in 2006 with the Chulahoma EP, and they quickly became one of my favorites. I had a lot of mixed feelings about Brothers when it first came out. At first I wasn’t thrilled about the band trading their sludgy delta blues sound for a more R&B inspired rock. But at the same time, Brothers was a huge improvement over their previous two records. In true hipster form, I also lamented the attention that the band was getting, fearing this would lead to a more mainstream sound from them. But again, I was also happy that more people knew about one of my favorite bands. It took 8 years of hard work, but The Black Keys finally made it, and it still holds up as one of their best albums.

Ferret

THE DEVIL WEARS PRADA – ZOMBIE EP–In 2009, The Devil Wears Prada released their third album, With Roots Above and Branches Below, and it was their best work yet. The production finally caught up with their style, and their songwriting was better than ever. Metalcore was at its peak popularity and Prada was among the best. How could they possibly do better? Then in 2010 they released the Zombie EP and completely blew Roots out of the water with five fucking tracks! The band ramped up the speed and brutality, and the theme was based on vocalist Mike Hranica’s interest in zombie books and movies. Weirdly enough, The Walking Dead would premiere two months after this EP released and everyone else in the world would hop on the bandwagon. The band was just firing on all cylinders with this one. It’s a bright spot in Prada’s discography and one of the few metalcore releases I can still listen to today.

Parlophone

GORILLAZ – PLASTIC BEACH–Prior to 2010, I didn’t pay much attention to Gorillaz. All I really knew about them was “Feel Good Inc.” and it wasn’t my style of music when it was popular. I don’t remember what caused me to give the band another look but when I did, I became almost obsessed with them. This newfound appreciation coincided almost exactly with the release of “Stylo,” the first single from Plastic Beach. Their third album would have them moving further from hip-hop and refining their wonky alt-pop. The result would be some of Gorillaz’ best tracks and best collaborations, with contributions from artists like Mos Def, Snoop Dogg, Lou Reed, Little Dragon, and Bobby Womack (who had a bit of a resurgence in popularity, thanks to this album). Unfortunately, it would end up being the last great Gorillaz album. But they’re still making music, so there’s always hope.

Bad Boy/Wondaland

JANELLE MONÁE – THE ARCHANDROID–The first time I knew anything about Janelle Monáe was when I saw a poster at Best Buy. I was instantly intrigued by this black woman wearing a tuxedo with a massive pompadour hairstyle. What on earth kind of music could this woman make? I don’t know what I expected, but I liked what I found. Her funk infused, alternative R&B and psychedelic soul were so much fun that it quickly became a favorite of mine. Which is weird considering I didn’t give pop and R&B music much attention at this time in my life. The genres were presented through a lens that helped me bridge the gap from my preferred music at the time, with rock and progressive influences coming through. And because I’m a nerd, the overarching sci-fi narrative of the album helped too.

Big Beat/Atlantic

SKRILLEX – SCARY MONSTERS AND NICE SPRITES–This entry has probably awakened some dark memories for some readers. Memories of hard drops, wobble bass, and questionable fashion choices. But regardless of how immature some of those trends seem now, they were a key milestone on the trajectory of EDM in popular culture. And it all starts right here with this EP. Scary Monsters was the EP and the song that made brostep a phenomenon. Whether you loved him or hated him, you knew about Skrillex. And if you listen to this EP beyond the title track, it proved back then that he wasn’t just a one trick pony. He had some range, and his work since proves that he still does. He hasn’t really matched the quality of this EP since, but the mark it left has given him producer credits throughout the decade and likely well into the future.

Mom+Pop/NEET

SLEIGH BELLS – TREATS–The “Loudness war” is something that has plagued music production for the past 30 years, and it can be the difference between a good album and a bad one. But there’s something to be said for using that digital compression as an aesthetic choice. From the very first seconds of Treats, you are bombarded with guitars, synths, and drums that are bricked out so hard that everything clips. Apart from bass boost memes, this is perhaps the only time that these levels of compression 100% serve the songs. It’s just one piece of Sleigh Bells’ in-your-face approach to noise pop (or their self-described “shred pop”). I had never heard anything like it before this album, and nothing has quite captured this level of noise and energy for me since.

Kemado

THE SWORD – WARP RIDERS–I know that within the spheres of stoner rock and doom metal, this album is not held in very high regard. But, I wouldn’t know that if it wasn’t for this album. I don’t even remember where I first saw the album artwork, but the retro typeface and Roger Dean-esque sci-fi watercolors compelled me to listen to this album. Through it I was introduced to retro styled traditional metal and left hungry for more. Finding other artists like this proved difficult at the time, but I just didn’t know where to look. I finally did learn a few years later, and even though I’ve found “better” examples of what The Sword were trying to do on this album, the riffs on Warp Riders still hold a special place for me a decade later.

XL Recordings

VAMPIRE WEEKEND – CONTRA–This album was my introduction to Vampire Weekend and contains perhaps my favorite song of theirs (“Giving Up The Gun” is the song by which all other Vampire Weekend tracks are judged, and it has one of the best music videos). The bright and clean sound was a perfect break in the winter clouds when the album came out. When compared to the band’s debut, Contra took the formula they set for themselves and refined it. Rough edges were polished and influences were mined even deeper, creating a major improvement stylistically and compositionally. This really was a great work of indie rock that was only topped by their third album that took this stylistic trajectory to its logical, almost absurd conclusion.