A music-obsessed, retired San Francisco lawyer, and author of the rock & roll memoir Jittery White Guy Music (available on Amazon)... picking a random album or song in his collection every day or so and sharing a few thoughts.
Sifting through some more 2024 releases as I gear up for my annual year-end mix/playlist. First up is the latest from long-running indie/Americana act Wussy, whose new one gives a nod to their home base. It's raw, cosmic American music, basking in gauzy electric atmospherics, somewhere between Silver Jews and Yo La Tengo, or Cowboy Junkies with the amps cranked up. Seems to have fewer outright rockers than prior records, most the tracks a little more somber, fizzy film noir mysteries. A few numbers do carry some additional heft, most notably opener "The Great Divide," which feels like a War On Drugs-styled reverb-drenched cinematic rocker, and the gradually-building "Inhaler." One of the year's best.
Father John Misty is one of those artist I like--and has a few tracks I love--but I've never gotten as into him as it seems I should. But his latest definitely got my attention. Its mere 8 tracks are pretty sprawling, dense epics that conjure everything from freak folk to baroque prog to indie rock. It's got a big, room-filling sound, incredibly varied style that pivots on a dime from almost abrasive rockers to lushly orchestrated showtunes. The whole thing has the vibe of a major accomplishment that makes me think I need to circle back and re-listen to everything else he's done.
Singer-songwriter Pete Yorn has been kicking around for a couple decades now, releasing sturdy yet under-appreciated records that range from acoustic Americana to traditional straight-ahead rock & roll. The latest leans on the acoustic side of the equation, sparse ballads that often achieve true beauty. At 8 songs in under half an hour it feels more like an EP than a proper album, though it's surprisingly satisfying, a brief reprieve from a terrifying world.
Pouty is the project of Philadelphia indie rocker Rachel Gagliardi, and her debut is a rousing little collection--another short one at under half an hour--of frenetic rockers. It's a little too scathing for power pop, but too melodic for pop-punk, ideal for a mixtape you can blast in the car as you fly down the highway. Gagliardi's girlish vocals paired with seething energy reminds me of early Charly Bliss, with some of that retro-90s indie rock vibe of Momma.
Not new music, but a great new box set from the always-dependable folks at Cherry Red. Look, I'm an unapologetic sucker for bubblegum pop. And this 3-CD set does a surprisingly thorough job of capturing the genre, focused on 1966-1971. You've got the usual suspects (the Archies, Ohio Express), and some forgotten gems. Sure, you can question some of the choices (the Velvet Underground's "Who Loves The Sun"? Really?), and bemoan the omissions (tv bands like Josie & The Pussycats, Banana Splits, and Lancelot Link; early Sweet; essential tracks like The Fun & Games' "Elephant Candy"--presumably due to licensing issues rather than a lack of research). But it's still a wonderfully fun few hours of pop music for those of us willing to indulge in some guilty pleasures.
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