2025 Music Reviews
Arcade Fire, Pink Elephant (2025) C+
After a string of flops this "indie" Canadian outfit has finally put out a tolerable record ... and it only took me three separate listens to come to that conclusion. Sure, there are missteps - "Circle of Trust" and "Alien Nation" are clunky "dance tracks" or something - although there are large portions that are actually decent, like the alarming opener "Open Your Heart or Die Trying," the endearing ballad "Ride or Die" and closer "Stuck in My Head." Considering there have been multiple sexual abuse allegations against Butler, who's been married to Régine Chassagne since 2003, I can't help but interpret the entire LP as a love letter/apology to her and an admittance of weakness. Is he sincere? Time will tell - until then, clean up your head, clean up your heart....
Black Country, New Road, Forever Howlong (2025) C
Even with the absence of former lead singer Mr. Wood, the rest of the band figured out a way to keep themselves going, but with this current lineup they've made a soft but drab record that is sorely missing the crackling chaos and dynamic energy he brought to each and every track. While the first two records sounded like a dizzying dive into neurosis and self-loathing ... now they're closer to Sarah McLachlan, minus the begging to donate to sick puppies.
Bon Iver, Sable, Fable (2025) D+
He first found fame with "For Emma, Forever Ago" back in 2007, but for this release Vernon's drifted far from being an indie/folk darling to trying to make what can best be described as R&B and soul with a hint of gospel ... and it's slightly embarrassing for him, since he clearly thinks what he has to say is somehow "deep" and "wise." It's as affecting as reading the journal of "that one friend" who decided to go on a two week hiking trip and came back "transformed by the elements." Give everyone a break, buddy....
Car Seat Headrest, The Scholars (2025) C+
The strongest aspects of Will's aesthetic - and I've been keeping track of his career before his big break when he was engaging with people on Tumblr - are both his delivery (which is both nasal and yet oddly emotive) and his smart lyrics, although I'm a bit concerned he might be buying too much into his own "hype" with multiple tracks that are too long and aimless. Self-indulgence can sometimes be a good thing ... except here I'm wondering if he's drifted too far into unwarranted self-importance. Whatever it is, I'm sure he'll figure it out....
Lucy Dacus, Forever Is a Feeling (2025) B
After working with the rest of Boygenius on their previous album, Lucy returns with another LP that shows off not only her sarcasm but also her sensitivity: she's as capable of dismissing a person as she is expressing her desire for love (albeit with reservations). It isn't a groundbreaking record by any means and definitely not her best - it could have used a more sonic 'complexity' - although she has a sweet delivery and something meaningful to say with it.
Deafheaven, Lonely People With Power (2025) C
It's strange that I never really got behind this Frisco-based blackgaze outfit considering how I tend to groan about the current lack of popularity for metal - guitarist Kerry McCoy certainly does his part with the heavy riffs, but their whole soft/loud "dynamic" has always seemed clumsily executed to me.
Destroyer, Dan's Boogie (2025) B-
Perhaps he caught me in a strange mood, because this latest record from Canada's Mr. Bejar really won me over with his grin-inducing sarcasm - it does wear out its welcome after a while (playing smarmy is tricky) and certainly isn't for every listener, but I think it's one of his more enchanting (and clever) releases ("Your Blues" is a high bar).
Franz Ferdinand, The Human Fear (2025) D+
For their sixth LP, they don't sound like they're making progress or evolving as a band - sure, there's a new female drummer, but the melodies and Kapranos' lyrics are often so basic they could be played during a show made for children. Or maybe their first album was just a fluke?
FKA Twigs, Eusexua (2025) B
In interviews, Ms. Twigs always seems so demure and soft-spoken, but then you hear her on this record and she's free to express herself in the fullest, completely willing to be sexual and playful. She has to possess one of the most sultry deliveries in music, and though there are missteps - I could have done without "Striptease" and "24hr Dog" - her team-up with Kanye's daughter (on "Childlike Things") is a blast and on contemplative closer "Wanderlust" she engages in a little self-criticism.
David Gray, Dear Life (2025) D
His slightly cracking/liquor stained voice remains a strength, but the songs themselves are rather static and the lyrics aren't remotely as poignant as previous recordings. Both "Eyes Made Rain" and "Sunlight on Water" are particularly banal, although the other tracks aren't significantly better.
Tim Hecker, Shards (2025) D+
The title Mr. Hecker chose isn't totally inappropriate, because for yet another record he's shown he can concoct a very interesting set of sounds, only to find he doesn't know where to go with them, so they basically loop around, stop whenever he sees fit and remain fractured bits. Most of the tracks run under five minutes long, but even lengthier closer "Sunset Key Melt" fails to develop into something significant.
Horsegirl, Versions of Modern Performance (2022) B+
It's unfortunate I missed this when it initially came out because this trio of (then) teenagers, who were influenced by the likes of Le Tigre, Kleenex/Liliput and other female punk outfits, not only go hard but also they're also far more clued in and clever than most of their peers. In the absence of life experience, choose poetry.
Horsegirl, Phonetics On and On (2025) B+
Following a rather stunning debut, this college-aged trio have returned with another charming indie-pop gem: I know they're into all kind of different types of music, but who'd have thought they'd lean into more of a Krautrock direction ("2468," "Switch Over") with a touch of Nico. It just works for them: their timing is impeccable and they don't clutter up their material with unnecessary effects. The lyrics are suitably ambiguous, although I gather they're fed up with certain people in their lives ... but dealing with it: same here, ladies.
Japanese Breakfast, For Melancholy Brunettes (& Sad Women) (2025) C-
The title offers a blatant clue that it's not going to be an upbeat album, but after experiencing success with "Jubilee," this is a major step down for Zauner, whose nasally delivery over what's essentially mall pop eventually wears the whole thing out, and the songs don't "end" as much as simply "fade out." A surprise appearance by Mr. Bridges on the country-ish "Men in Bars" briefly shakes up the dynamic - it could have used more eccentric touches like this to add some dimension. As it stands, this morning meal consists of instant coffee with no cream, unsalted egg whites and wheat bread.
Lady Gaga, Mayhem (2025) B
This is a nice throwback for the multi-talented Ms. Gaga - the first six tracks, in particular, bring to mind the hits that made her a pop star in the first place. The production team she brought together do a nice job slightly tweaking her sound: it's catchy and campy ("Zombieboy") and references the disco-era without succumbing to the worst aspects of that genre. Oh, and did I mention I still think she's a wonderful actress? Or maybe I'm eternally biased and simply rooting for a fellow Italian....
Mogwai, The Bad Fire (2025) C-
These talented Scottish fellows have been doing this for far too long to expect fans to find much to celebrate here - the songs don't have any "lift" and kind of circle around before the inevitable fade-out. Still, there are worse things to do than listening to Stuart and the lads jamming after a couple of pints ... and closer "Fact Boy" is trippy enough to send an aging hipster straight to sleepy-town.
My Morning Jacket, Is (2025) D
It's been quite a few years since this group's put out anything worth listening to, and it's not changing here: opener "Out in the Open" starts with a bit of pep, but then it succumbs to its own musical and lyrical banalities ("The world moves on / Life goes on / Love was all that mattered"). Is that a sample from a Charlie Brown Special to start "Time Waited?" Are they trying to imitate Pink Floyd on "Die For It?" Ready, set ... fall on your face.
Panda Bear, Sinister Grift (2025) D+
Not only has Animal Collective's decline been noticeable since 2009, but Noah's has as well, and for whatever reason he's still convinced he's a psychedelic Brian Wilson, abusing the heck out of the delay and trying to sound like he's singing in a watery cave.
Perfume Genius, Glory (2025) D
For his previous recordings, Hadreas would at least combine his sharp social commentary (mostly pertaining to the LGBTQ+ community) and combine it with dynamic electronica, while this is frill-free and consistently morose, with many of the tracks blending into each other. Where did the pep go? Or the righteous anger?
Tune-Yards, Better Dreaming (2025) D+
In the best moments from her previous records, Garbus was able to properly combine off-beat melodies with her distinctive voice, except now she thinks she can overpower a stale production with yelping and hollering humdrum pronouncements. Sorry, but no one's seeing rainbows these days.
Kali Uchis, Sincerely, (2025) B-
Kali's fourth studio LP, "Orquídeas," provided a nice showcase for her voice and range while this, her fifth, really shows how how charming and warm she can be: the title isn't meant to be a sarcastic joke. Unfortunately, she also glides a lot on her innate abilities, and too many of the pieces on here play it entirely too safe.
Sharon Van Etten & the Attachment Theory, Sharon Van Etten & the Attachment Theory (2025) D
Sharon may have a new backing band, yet this latest LP is severely lacking: she's too fond of repeating herself (and comes across as being either drowsy or hung-over ... perhaps both) and the music itself sounds like severely watered down 80's synth dreck.
Viagra Boys, Viagr Aboys (2025) B+
It seems like the Boys are keeping the Shrimp Train humming along with this fourth record, which is irreverent and cacophonous and loaded with absurd lyrics from heavily-tatted, part-American front man Sebastian Murphy. Opening track "Man Made of Meat" starts it off with a lot of fire and sarcasm and that same energy carries it all the way through to closing bit "River King," which sounds like a contemplative ballad, but probably can't be taken seriously either. Being punk means eating cigarettes for breakfast and then saying a prayer at the end of the day.
The Weeknd, Hurry Up Tomorrow (2025) C
There was a news clip last year that mentioned Tesfaye was considering dropping "the Weeknd" moniker and I thought it was a good idea since doing so might allow him to take his music in a different direction, because this ninety-minute LP is more of a sign of hubris and limited talent, as he spends the entire record unimaginatively recycling himself: he's so wounded and full of scars, he keeps hooking up but can't find love, etc. Despite the debacle that was HBO's "The Idol," I still think he holds his own as an actor ... he just needs to challenge himself as a songwriter.
Cameron Winter, Heavy Metal (2025) B
In case you thought the post-rock band Geese took an unorthodox approach to both lyrics and melodies, Winter's second solo LP is even more wonky: expect discordant sounds (horns out of nowhere!) and vocals influenced by, of all people, Captain Beefheart. And get ready for lines like "Baby horses on my chest are trying to push me out to sea" and "You'd like to keep my salesman's teeth, wouldn't you, baby?" Most will be alienated, but intelligent babble is my jam.
Youth Lagoon, Rarely Do I Dream (2025) B-
A rare medical crisis in 2021 seems to have permanently transformed Trevor's voice - instead of this fey wisp, it's slightly raspier, and it gives his music a different edge. While it kind of fades out a little in the second half (especially with those "nostalgic" sound clips), tracks like "Speed Freak" and "Lucy Takes a Picture" help to hold it up.
Singles of the Year: Baths: "Governed," Indigo De Souza: "Heartthrob," John Glacier (Featuring Sampha): "Ocean Steppin'," Horsegirl: "Switch Over," Squid: "The Hearth and Circle Round Fire," Youth Lagoon: "Speed Freak"
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