Amoeba Music

Why Does the Earth Give Us People to Love? is the debut album from Kara Jackson, named National Youth Poet Laureate in 2019. The lyrics are ultra relatable, as rooted in love and compassion as they are in confusion about the nature of existence and what we’ve all signed up for as members of society. Jackson’s compositions take elements from indie, blues, and even some twangy Hawaiian-sounding guitar to create a sound that’s completely unique and utterly compelling. Why Does the Earth Give Us People to Love? is meditative, moving, and meandering, mirroring the way thoughts float through our heads and we float through (or sink in) the currents of life.

After a seven-year pause, Daughter is back with Stereo Mind Game. The arrangements are gauzy and shimmering, augmented at times by London-based string orchestra the 12 Ensemble's keening, gorgeous sounds. Lyrically the album is all about connection: longing to be closer, in some cases, and in others, letting go and giving up with grace. The interplay of light and shadow on Stereo Mind Game gives these tracks real staying power, the lyrics often imbued with loneliness and despair, the melodies soaring above with hope for transcendence and healing. A richly layered album that easily balances the dark side of life with moments of beauty, love, and honesty.

North Americans, the fusion of guitarist Patrick McDermott and pedal steel player Barry Walker create a lush, minimal soundscape on their latest release, Long Cool World. McDermott and Walker have melded elements of ambient and drone across acoustic American Primitive melodies like alchemists, crafting a unique sound that is light and tranquil yet with a pensive seriousness.

Seattle’s grunge legends are back, celebrating their 35th anniversary with a new album, Plastic Eternity. On their 11th studio album, the band has stayed true to their punky alterno-grunge roots while weaving elements of ‘60s psychedelic rock throughout the album, most notably on the trippy lead single, “Almost Everything.”

The originators of kawaii metal, Babymetal, return with a smashing new album, The Other One. Fusing J-pop (albeit with a darker, more melancholy bent) with heavy metal, the songs feature ripping, brutal guitar riffs and honey-sweet yet powerful vocals from main vocalist Su-metal. Be assured that while "kawaii" (or "cute") is often associated with this band, they truly, truly do kick ass. The Other One is a thoroughly enjoyable thrill ride of an album from one of the most innovative, exciting, and just straight-up fun bands pushing the typically dude-heavy genre into new territory.

Ladytron are back with one of their best records in recent memory, Time's Arrow. The band’s distinctive crystalline, icy sound is as darkly enchanting as always, but this time there’s some light amongst the shadows. The mood of the album moves naturally from tightly-wound, near-claustrophobic motorik electro-pop to more ethereal, dreamy, searching sounds. Ladytron sound like they’re stretching their wings on these songs; it’s a fitting soundtrack for our contemporary moment, in which things can sometimes feel so dark, but yet there’s always a glimmer of hope and transcendence.

Paris-based Oracle Sisters recorded Hydranism on the Greek island of Hydra during the 2020 lockdowns. In what has to be the most romantic pandemic-album backstory of all time, the band sang together in a ballroom, dined in a wine cellar, and made the best of being trapped on an island where the boats were suddenly grounded. Perhaps it’s this sense of adventure and experimentation that gives the resulting album such a dreamy yet angst-free feel. “Tramp Like You” is folksy and charming while “RBH” is one of those catchy, easy-going tracks that’s destined to drift your way across multiple car stereos this summer. “Hot Summer” runs in the vein of Lou Reed, Bob Dylan, and other languid-voiced chroniclers of daily life, in this case, a sax-inflected summer day loaded with possibilities. Hydranism may have a great story behind it, but it’s the well-crafted songs and lovely atmosphere that’ll keep you coming back for more.

Blondshell’s self-titled album is the debut from LA musician Sabrina Teitelbaum, formerly of the more pop-oriented BAUM. During the pandemic, Teitelbaum started writing grungier, more rock ’n’ roll tracks and Blondshell is the rewarding result. On “Veronica Mars,” what starts as a quirky yet bristling look back at the past soon becomes a full-out scorcher. “Kiss City” has the rhythms of seductive ‘80s R&B and the soaring guitars of dream pop, a rush of emotion that feels like falling in love/lust. On the album, Teitelbaum uses gritty rock ’n’ roll and self-deprecating lyrics to approach intense emotions: What if I let this kill me?” she sings off a less-than-stellar, addictive relationship on “Sepsis.” The combination gives her a unique voice in the current indie rock landscape, and if Blondshell the album is any indication, Blondshell the artist is one of the most compelling artists in a while.

Sylvan Esso’s No Rules Sandy is a hazy summer daydream of an album. During the album sessions, the band decamped to Los Angeles, where they focused on experimenting and improvising. Perhaps it’s not surprising then that there’s a serpentine quality to the songs; the listener never knows where the next turn will take them, but oh boy is it an enjoyable ride. The songs flow from almost ethereal Stereolab-esque electropop to glitchy, distorted, yet ultimately danceable party tracks. No Rules Sandy is one of Sylvan Esso’s most exciting records with enough toe-tappers to and unexpected twists to make any fan happy.

Lake Street Dive’s Fun Machine: The Sequel is pure good times. The titular fun machine is basically a jukebox of the band’s favorite songs to listen to and to play; it’s their second covers record and it’s straight-up filled with bops. The band’s R&B and neo-soul stylings heighten the emotions of the originals, bringing out the unsettled, lovelorn desperation of Dionne Warwick’s “Anyone Who Had a Heart” and emphasizing the party vibe of The Pointer Sisters’ “Automatic.” An immensely enjoyable, exquisite album that will remind you of just why you love music.

It’s not summer yet, but the vibe is so strong on Miley Cyrus’s new album, Endless Summer Vacation, you’ll swear it’s all sunshine and sweat. If you dug the lead single “Flowers,” this album is a must-hear, with some of the popstar’s most intoxicating tracks yet. Miley has said that the album consists of two parts: AM, the time of fresh awakenings and new possibilities, and PM, the sexier, seedier side. Listen and you’ll hear it. And with this many irresistible tracks, you’ll want to keep Endless Summer Vacation on repeat.

Brooklyn country/rock singer Dougie Poole brings underground grit, a deep understanding of genre, and sardonic wit to his third solo album, The Rainbow Wheel of Death. Named after the spinning pinwheel that always foretells computer trouble, a sight Poole became extremely familiar with while working as a freelance computer programmer in the wake of the 2020 live music shutdown. It's also a metaphor for the stasis many of us feel as we grapple with reacquainting ourselves with society and facing the multitude of problems stacking up at our cultural doors. If that sounds like a downer of a concept, fear not. Poole brings warmth, tongue-in-cheek humor, and authenticity to the tracks. A must-hear for fans of throwback country and non-fans of the contemporary zeitgeist.

On Mil Coisas Invisíveis, or A Thousand Invisible Things, Brazilian singer-songwriter Tim Bernardes channels the easy, spirited sound of vintage Tropicália into his modern-day folk. An intimately personal expression, Bernardes shines as he bares his soul on pieces like “Nascer, Viver, Morrer” and “Misitficar.”

Dust is a strong set of sweepingly atmospheric Americana. There are moody, romantic chords, gently gritty vocals, and lilting odes to the smaller details in everyday life. Highlights include the lovely “Garden Song” and the slow-building title track.

Unknown Mortal Orchestra’s V is expansive, innovative, and playful. After UMO mastermind Ruban Nielson decided to weather the pandemic in Palm Springs, he started feeling lighter, sunnier, and interested in the pure emotionality of music, whether that music was deemed “cool” or not. The result is this ‘70s-tinged collection of tracks, all featuring the unmistakable UMO sound, just with the occasional patina of disco and mellow vibe of West Coast AOR. Nielson gives a nod to his family in Hawaii with the inclusion of elements of Hapa-haole music. He creates weirdo pop confections from this heady mix of sounds. V is a stew of moods, feelings, and genres, and it’s all the richer for this experimentation.

Lonnie Holley’s Oh Me Oh My is healing, transcendent, cosmic, and cool. “I am a part of the wonder,” Holley intones on the second track, setting the tone for an album that finds the sacrosanct within the everyday, the beauty that remains after the dissolution of pain. An eclectic, all-star cast of collaborators appears to buoy Holley’s vision, with contributions from Michael Stipe (“Oh Me, Oh My”), Justin Vernon of Bon Iver (“Kindness Will Follow Your Tears”), Sharon Van Etten (“None of Us Will Have But a Little While”), Moor Mother (“I Am Part of the Wonder,” “Earth Will Be There”), and Rokia Koné (“If We Get Lost They Will Find Us”). Produced by Jacknife Lee (REM, The Cure), Oh Me Oh My is both a testament to Holley’s artistry and to the wonders of life.

Without the benefits (or confines, depending on your view) of a major music scene in their small Vermont hometown of Brattleboro, Thus Love DIY’d everything and paved their own road to an exceptional debut album, Memorial. They have embraced the past with a sound that would fit right in with the post-punk era ‘80s, yet maintains a light, joyous modern vibe throughout. The tone that lead singles “Inamorato” and “In Tandem” set for this album is solid and marks a dynamic first outing for the trio.

Raye should be a superstar. The release of her debut, My 21st Century Blues, has yielded some of the most innovative, heartfelt, stone-cold killer cuts you'll hear this year. (And yes, we know the year is still very young.) The British artist swims deftly from one genre to the next, from dark R&B to throwback soul to electronic, as she sings of addiction, insecurity, escapism, and sexual assault. Yet the album never feels heavy. The songwriting has gravitas and intelligence; the music is glossy and glittering on the surface, with enough emotion and imagination to keep listeners coming back for more. 

These two legends of soulful American music combined forces to record this live date back in 2011 (just a year before Helm passed away) and it is truly sublime. Her voice takes the lead throughout most of these 12 tracks, with Helm’s earthy harmonies backing her beautifully. The rootsy band numbers over a dozen musicians, including Levon Helm playing his perfectly simple style of groove on drums. The music isn’t flashy but it’s always solid, and the tune selection is excellent as well. Standout cuts include “This Is My Country” by Curtis Mayfield, and a powerful a capella version of gospel classic “Farther Along” by W.B. Stevens. A rousing rendition of The Band’s own masterpiece “The Weight” caps things off with a bang as Helm takes his only turn on lead vocals. A life affirming document from two monumental artists.

When you burst onto the scene (any scene) with a viral video, the pressure’s on to prove your success wasn’t just a one-time hit. With the release of Growing Up, fans of The Linda Lindas can breathe easy knowing that these ultra cool teens and pre-teens truly deliver. That is, if you can breathe at all with all the head banging you’ll be doing to this killer album. “Racist, Sexist Boy,” the song that ignited the storm of attention the LA quartet would receive, is a let-‘em’-burn banger and worth the price of the album alone. But it’s not the only bravura performance on Growing Up. Each short-but-sweet track tears into your headphones with gleeful intensity, whether the band is flexing its pop muscles or creating riotous, no-holds-barred classic punk. Turn this one up loud—the Linda Lindas are the future of punk.