When I’m not complaining about social media and the state of our society, I occasionally do find time to indulge in the expressive artistic medium commonly referred to as “music.” This art form uses sound to convey messages about the artists themselves or the world they live in, and it is easily accessible via websites like Bandcamp or Spotify — or, if you’re feeling adventurous, you can even see it be performed in a live setting. Given my enjoyment of the medium and the artists who practice it, I realized this could be the type of thing I could share on this website, with the understanding that other people who love music could find my posts and share in my enjoyment of it.
Here are some of the releases from this year (2018) that I’ve been listening to recently, along with some incisive and articulate commentary explaining to you why I enjoy them.
U.S. Girls – In a Poem Unlimited
The genre of “pop-punk” is often either bad pop or watered-down punk. In a Poem Unlimited finds a nice sweet spot between those two genres — its sound mixes pop hooks and vocals with the occasional burst of abrasive noise, while its lyrics have the sharp confrontational edge of punk. Mentally, I began thinking of this album as “punk pop.”
Meghan Remy’s lyrics are politically charged, but not in the way that feels like she’s talking down to you or telling you what you already know. The key is that she grounds her politics in narratives, like the revenge fable “Velvet 4 Sale,” which is just classic storytelling with a message attached to it instead of a strident scream at the listener that demands them to feel a certain way. “M.A.H.” is another highlight that serves as a scathing critique of the Obama administration and a personal story of losing faith in your country and the people who run it.
On “Incidental Boogie,” Remy whispers “I gotta tell you something you don’t want to hear; it’s the truth and that’s never easy to hear.” That is kind of the mission statement for In a Poem Unlimited, which is pop music that isn’t content to just be pleasant to listen to.
Beach House – “7”
Beach House remains a uniquely vexing band. Skeptics rag on them for making the same song over and over, while many of their fans will say they’re happy to hear the same Beach House song forever. Meanwhile, I argue that this band has evolved and changed in a subtle way that hasn’t really been noted by the general public.
A couple years ago, I went nuts for their previous album, the grievously underrated masterpiece Thank Your Lucky Stars. It just had a different feeling than their other music to me, and 7 has a similar intangible quality, where it sounds only like Beach House, yet conjures up completely different emotions than a lot of their previous work. I don’t think it’s quite as good as Thank Your Lucky Stars, but it shows the band continuing to evolve and experiment with their tried-and-true sound.
As someone who loves to laboriously explain why I enjoy things, this band has frustrated me because it’s been hard to come up with satisfying reasons for why their music is so effective. Now I’m starting to understand that not being able to explain why they’re so good is what makes them so good.
Wax Idols – Happy Ending
This is the somewhat delayed follow-up to American Tragic, which was one of my favorite albums of 2015. In the lead-up to this album, I found myself listening to all of Wax Idols’ albums and realizing that this is one of the best rock bands going today. Frontwoman Hether Fortune is charismatic and has constantly progressed as a songwriter, and their sound has evolved into a smooth mix of goth, pop, punk and shoegaze.
Happy Ending is the most poppy effort by the band, but it doesn’t back off from dark subject matter. “Mausoleum” turns the feeling of loss and memory into a catchy pop jingle; “Too Late” is a chipper song about suicide and realizing that you’ve wasted your entire life. This is rock music that is enjoyable to listen to and also packs an emotional wallop.
Lithics – Mating Surfaces
The rhythm-centric punk sound and jittery deadpan vocals of Lithics make for an easy comparison to The Fall if their singer were a woman who was less racist and dead. They’ve channeled a lot of different punk groups into a sound that feels unique enough, mostly because of the nearly spoken vocals and abstract lyrics.
I’m sure many listeners will find this band to be unlistenable nonsense, but that’s what makes it feel more like genuine punk, the kind that alienates closeminded people. Music that is this unapologetically weird and energetic doesn’t come around too often, and it’s always something I’ll embrace.
Kacey Musgraves – Golden Hour
I’m a pretty stereotypical anti-country guy and have a healthy skepticism for any pop album that I feel is being graded on a curve by indie fans, like where they praise it to the heavens just because it isn’t an active assault on the senses (see: Lorde’s Melodrama). I also just really hate the city of Nashville. So I’m not exactly the target audience for this Kacey Musgraves album.
But there is an appealing simplicity to Golden Hour that makes me kind of understand why people like country music. Musgraves being a great singer helps, but it’s her lyrics that stand out: they’re basic and unpretentious, capturing every-day life while also not falling into the typical country tropes of talking down to the audience. There are some awkward half-hearted attempts at country radio songs on this album, like “High Horse,” that detract from the proceedings, but if you just ignore those this is a strong album that transcends genre stereotypes.
Musgraves is at her best on songs like “Slow Burn” that are gentle, simple, and oddly psychedelic.