In this segment, we showcase the most notable albums out each week. Here are the albums out on June 28th, 2019:
Freddie Gibbs & Madlib, Bandana: This is the second collaborative project from Indiana rapper Freddie Gibbs and legendary hip-hop producer Madlib, two very different artists who work surprisingly well together, as they proved on one of the most essential rap projects of the decade, the critically acclaimed 2014 album Piñata. If that’s not enough to get you excited, Bandana also features collaborations with Pusha T & Killer Mike, as well as Black Thought, Yasiin Bey, and Anderson .Paak.
Thom Yorke, ANIMA: Thom Yorke’s third solo album is an accompaniment to the 15-minute short film of the same name directed by Paul Thomas Anderson, who has frequently collaborated with none other than Radiohead guitarist Johnny Greenwood. Produced by Nigel Godrich, the 48-minute album is set to be quite different from Yorke’s piano-led soundtrack for Suspiria, and more akin to the strange electronic sounds the Radiohead frontman has been experimenting with for a while.
The Black Keys, Let’s Rock: The title of The Black Keys’ latest album is straightforward, and so, it seems, are the songs on it. Let’s Rock is the band’s ninth studio album and the first since 2014’s Turn Blue, which saw them experiment with psychedelic and soul music. Employing a stripped back rock n’ roll sound composed of just guitar and drums, it’s the first time in a decade that they’ve made an album without the help of producer Danger Mouse. Drummer Patrick Carney called it “an homage to electric guitar”. Let’s hope it’s a good one.
Kim Petras, Clarity: Up-and-coming pop sensation Kim Petras’ latest is a 12-track collection of tracks that have been slowly dropping over the past few weeks. Petras puts her own twist on the instantly recognizable early 2000s pop sound by exploring deeply personal themes about being transgender and experimenting with new musical directions beyond her bubblegum pop beginnings.
Summer Cannibals, Can’t Tell Me No: Portland rock band Summer Cannibals return with a follow-up to their 2016 album Full Of It, which was their first for the legendary feminist punk label Kill Rock Stars. If infectious lead single ‘Can’t Tell Me No’ is any indication, this one’s definitely gonna rock just as hard.
Other albums out today: Ingrid Michaelson, Stranger Songs; Julia Michaels, Inner Monologue Pt. 2; Poppy, Choke EP; Horse Jumper of Love, So Divine.
In some ways, The Raconteurs’ long-awaited follow-up to 2008’s Consolers of the Lonely feels like the exact opposite of Jack White’s latest solo output. His 2018 album Boarding House Reach was his most experimental, and his bandmates here, including singer-songwriter Brendan Benson, seem to be containing some of White’s eccentricity. Nevertheless, their chemistry is palpable and the energy is there, making Help Us Stranger something more than just an exercise in classic rock nostalgia. There are bizarre, electrifying moments like the Led Zeppelin-infused ‘Don’t Bother Me’, memorable hooks (‘Bored and Razed’), and understated yet expressive ballads (‘Only Child’). But more of often than not, Help Us Stranger sounds like run-of-the-mill, uninspired rock music that lacks the band’s usual knack for narrative storytelling and interesting songwriting – to the point that the title of ‘Somedays (I Don’t Feel Like Trying)’ may be more telling than it should be.
Up-and-coming Australian singer-songwriter Hatchie combines the hazy, ethereal sound of shoegaze with the smart pop songwriting of the likes of Carly Rae Jepsen. A follow-up to the Sugar & Spice EP which saw her fully embrace her pop influences, Keepsake blends the two to produce an endlessly engaging dream pop album that benefits from the tight focus and emotional clarity that so many nostalgia-driven dream pop bands today lack. The catchiness of tracks like ‘Obsessed’ is, excuse the pun, something to obsess over, while the earnest, heartfelt lyricism of ‘Stay with Me’ or ‘Without a Blush’ showcases the true, modern heart of the album. These are songs about growing up and discovering yourself (‘Her Own Heart’ would be an excellent accompaniment to a coming-of-age film), being in love and getting lost in it. And this album’s one to get lost in too.
Although Hot Chip has been a band for almost 20 years and its members are pushing 40, they still sound as youthful as ever on A Bath Full of Ecstasy. The synth-pop group once again prove to be one of the most reliable bands in indie dance pop, and their seven full-length album is a danceable, joyful mix of well-produced electronic tunes. There’s the catchy ‘Hungry Child’ and the anthemic opener ‘Melody of Love’ that looks for hope in the darkest moments, while other moments find Hot Chip at their most introspective and surprisingly soulful, like the nostalgia-infused ‘Positive’ and the ethereal ‘Clear Blue Skies’. The album ends just as strong as it starts with ‘No God’, which, in frontman Alexis Taylor’s own words, is “a euphoric song about love for a person rather than God”, and a great one at that. The album may not sound like a bath full of ecstasy, but it sure sounds like a glimmer of hope.
Prolific pop producer Mark Ronson has been around for a while, but he’s been getting more and more attention recently following his smash hit ‘Uptown Funk’ and his contribution to the A Star is Born soundtrack. As a result, his latest solo album is filled with big-name collaborators including Miley Cyrus, Camila Cabello, Alicia Keys, and Lykke Li, but as is to be expected with an effort like this, it risks being a less than a cohesive project. But that’s not the problem with Late Nate Feelings – if anything, it’s an unexpectedly conceptual album about the feelings that come after midnight, when the throbbing beats give themselves away to mid-tempo grooves. Rather, the album often lacks the emotional delivery that would take this to another level, while the production is so polished it almost becomes indistinctive. More importantly, some of the tunes pale in comparison to others, as if in a rushed attempt to stretch an EP’s worth of good pop songs – including the surprising collaboration with Angel Olsen on ‘True Blue’ and the catchy ‘Nothing Breaks Like a Heart’ with Miley Cyrus – into a full-length album.
In the trend of normally adventurous rock artists going back to basics (look no further than the first album on this list), Titus Andronicus return with a new album following last year’s A Productive Cough. It may not sound like it, but at its core, this is the same band that produced ambitious, narratively interesting albums like The Most Lamentable Tragedy. But the band is going for a straightforward, no-bullshit punk-infused rock n’ roll sound this time around. An Obelisk is by no means a bad record – this kind of attitude suits them, after all, especially in contrast to last year’s mellower effort. The energy is there, and fans of classic punk will no doubt find it at the very least enjoyable. But it lacks so much of what defines Titus Andronicus, and very little of it sticks to you after the first few listens.
