This band sounds like The Cure if The Cure was a noise metal band, and it totally rules. There's a lot of metal bands out there these days doing this sort of romantic-new-wave thing, but it usually comes off as a novelty. But these guys somehow figured out how to make it work.

Although holy shit I wish they had a better name than Sunrise Patriot Motion. Like a truly awful band name.

I've made the comment about Kendrick's previous albums that I will almost never go back to listen to them; they're simply so good, so heavy, so profound, that it's too much of an investment to sit and take them in. Like a good novel.

Likewise, I will probably not go back to listen to Mr. Morale and the Big Steppers more than a couple times this year. But this time it's just because it's kinda a sloppy mess that I have no interest in trudging through again.

I know I said this about the last one, but I really think this might be the best Wilco album since Sky Blue Sky.

My gut is that this is the worst of Moon Tooth's 3 albums so far. It's not bad by any means; I've probably listened to it a dozen times already, and honestly it's fun as hell, lots of super rad lead guitar, interesting little bits popping up here and there like any good Moon Tooth collection. But there's something smoothed-over about it—I'd say that it was their most commercial, radio-friendly album so far, if hard rock radio was still a thing. Is it a thing? Maybe it is. But there's a rote verse-chorus-verse mood to all these songs that is sucking a bit of the adventurousness out of what is usually a totally freewheeling band.

At the same time, I get this feeling that this is going to be a case where, 3 years from now, I'll suddenly be calling this "secretly their best."

This album somehow became an obsession of mine in the last week. First of all, A+ band name. Love it. Second, that cover art. It all works. Thirdly, they have some songs that sound so much like Green Day that I was actually taken aback at first. Put off, even; it's actually weird in 2022 to hear a band go deep into Green Day veneration. For as much pop punk is still out there in the world, it's actually rare to hear a band that makes you say, "Oh shit, that sounds like Green Day!"

But it wasn't the Green Day references that ultimately won me over, it was the Superchunk references. Because, like Superchunk's last decade of work, this is adult pop punk, written by adults and for adults. What I mean is they're not afraid of chords. Good songs, good vibes, performed like total pros. There's really very little to dislike here.

This is Warthog's 4th EP that's simply called Warthog. I'm pretty sure posting is this going to break my site. It already broke my iTunes library. But that's probably part of the plan for Warthog, because they are a spike studded steamroller powering forward with the intention of eviscerating everything in their path, even if it's just three songs at a time, once every four years. One of these days maybe they'll release a full length, call it Warthog, and finally stand in their rightful place atop the smoldering rubble of New York City.

I haven't listened to all of this album yet. It might take me another year. But this is a Billy Woods album we're talking about, so that's actually a compliment. This man writes and he writes dense, and you don't exactly breeze through William Faulkner novels at the beach, yknow?

Every year lately it seems that there's one death metal album that becomes a surprise critical darling, embraced and championed in the wider music blog-o-world rather than just in dirty little metal circles. Blood Incantation maybe started the trend a few years ago, but after that we had Necrot, Tomb Mold, uh okay maybe those are the only ones. But 2022 is the year of Undeath.

The talk about Undeath is how funny they are. Like yes they're very serious and accomplished death metal musicians, but they're doing it all with a smirk and tongue in their cheeks. And I can see that I guess, in that death metal has a long history of bands trying to be as ridiculous as possible, and here it's mostly in the lyrical content. Even just the song titles: "Fiend For Corpses," "Head Splattered Seven Ways," "Human Chandelier." And the title of the album, It's Time... To Rise From The Grave!, places that ellipsis and exclamation point for maximum goofiness.

But the music is very serious, and it's very much good enough to become the annual death metal darling. I can't even get into that much detail about it, because really it's "just" death metal. They're not expanding its cosmic psych boundaries like Blood Incantation, they're not injecting mathy mania into it like Tomb Mold. They're just very good at making death metal music. The riffs are hooky brain nuggets, the solos are melodic and memorable and rad, it just comes together in ways that death metal bands always want to come together but usually miss an element or two. Much like the protagonist of "Fiend For Corpses," it goes down real smooth.

Speaking of bands from Philadelphia...

Upon hearing the first song or two, I was totally smitten with this band. Power pop melodicism, Thin Lizzie guitar licks, pure energy, awesome. Then about halfway through, I realized they sounded exactly like Sheer Mag. Also, it should be noted, a Philadelphia band.

This album fucking rips so fucking hard. Black Metal horror with punk rock energy and NWOBHM licks. And most importantly: memorable hooks and genuine musicianship. There's this melding of black metal and punk that's been happening for a couple years (or has been happening since Venom existed, really), random bands from Belgium and wherever else popping up on Bandcamp mixing and matching but always recording to tape and photocopying their artwork to death—but this is the first time I've heard it really work. And it really, really works.

I just want to add, too, that this band is from Philadelphia. There's something going on in Philadelphia in the last few years. Like, if I see a band is from Philly, I'll be way more likely to give it a listen.

This album is good, but in the last year I've decided that In Waiting is actually one of my favorite albums of all time. So yeah, this isn't quite as good.

Walter Martin does it again. Although he doesn't do it quite as well as he did with Arts + Leisure, which remains one of my favorite albums of the last 10 years. Still. This guy.

Sludge prog. Love it.

GUVs ranked:

1. I
2. III
3. II

I don't understand Nilüfer Yanya. Even on the top level, what is that name? I understand she's part Turkish but raised in England, but something about her name, that umlaut floating there, just doesn't compute. Then you have her personal aesthetic, her fashion and style choices—it's very Gen Z, but doesn't really align with any one scene or genre. She looks like she could be a major label pop star, or a Bushwick barista, or a London fashion student, or anything else. That aligns with her album art, which also has a Gen Z art school throw-shit-at-the-wall-thing, like it could either be DIY indie rock or Chicago house remixes.

This all aligns with the music itself. Is it indie rock? Is it secretly major-label pop? Is it some lo-fi side project that's actually helmed by whoever works on Dua Lipa albums at their day job? It's kinda all of it at once. And her voice is so mercurial, hard to get any sense of. Recognizable, to an extent, in its tenor (literally), but listening to her sing gives me no idea about who she is, what she thinks, or what she's trying to say.

So Nilüfer Yanya is one ultimate example of the monogenre. The odd part is that I still enjoy her music. It's a mystery, but maybe there's something there to crack. What are any of the songs called? I don't know. How do any of the choruses go? I don't know. What's the deal with Nilüfer Yanya? Got me! But I think I'll keep listening.

New Superchunk album! Guess what, it's great!