Amoeba Music

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.

Mexican-American heavy-hitters Marisol Hernández and Los Texmaniacs team up for Corazones and Canciones, a collection of rancheras and boleros with a deep history and a fresh sound. As La Marisoul and Los Texmaniacs, they sing in both Spanish and English, the tracks alternating between festive numbers and dreamy ballads. On “Mucho Corazon,” it’s a swooningly romantic situation with guitar, strings, and accordion. On “Las Nubes (The Clouds)” it’s a rollicking good time, a dance number for dancing in the sunshine. Whether you’re a fan of Mexican music or are new to the scene, the intriguing, emotional Corazones and Canciones deserves to be heard.

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.

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.

Margo Price’s latest, Strays, is an eclectic, emotional journey from beginning to end. “Been to the Mountain” kicks things off with driving, defiant energy, the melodies rooted in psych and country rock. “Change of Heart” adds that psych patina to a rock ’n’ roller of a track with underlying pop sensibilities. Towards the end of the album, the sweeping strings on “Lydia” bring a brooding, melancholic atmosphere to a country-infused tale of regrets and recalibrations. It’s one of Price’s most affecting, haunting songs. Strays is Price at her most powerful and unforgettable, with special appearances by Sharon Van Etten, Mike Campbell, and Lucius.

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.

Ghost delivers another solid scorcher of an album in the form of IMPERA. This time the band’s turning their considerable/formidable talents toward an ‘80s-influenced metal style, with fierce riffs and anthemic melodies. Few bands could go this hard, bringing such menace and majesty to both ballads and bangers alike—but Ghost, of course, pulls it off with aplomb. If you’ve ever dreamt of an arena rock album about the collapse of empires fronted by a menacing pope figure, this one’s for you.

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.

Halloween Ends is the final installment in the Halloween series and with John Carpenter handling composer duties, it's a fittingly epic send-off. Alongside Cody Carpenter and Daniel Davies, John Carpenter has created some truly chilling tracks, replete with all the stabbing synths, icy soundscapes, and menacing melodies that have made the Halloween scores so iconic. The album both inspires dread and attraction; the songs balance a sense of majesty with a sense of ineffable terror. What made the original soundtracks so brilliant will draw fans to Halloween Ends; it's Carpenter's evolutions in sound and ongoing ability to grip listeners by the heart (and throat) that'll keep them coming back.

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. 

Fantastic new album from Haitian-American singer-songwriter Leyla McCalla (member of Our Native Daughters: Rhiannon Giddens, Amythyst Kiah, Leyla McCalla, and Allison Russell).

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.

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.