Tag: Playlists

Sound Advice: 12.Sept.2025

by KevinLeave a Comment on Sound Advice: 12.Sept.2025

The flood of great records continues! Today we’re taking a quick look at the latest from Ivy, Dar Williams, Lail Arad, and more!

Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.

Good morning!

Today we’re taking a look at the latest from Ivy, Dar Williams, Maia Sharp, and more!

The boilerplate intro:

Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre or any other artificial guardrail we try and put up—

In other words, a ton of good stuff is coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below is another batch that caught my attention recently.

A lot of recent releases landed on my radar all at once, and I want to shine a light on them before too much more time passes. Not quite an 88 lines about 44 records kind of deal, but close. More of a clearing the decks, if you will.

Let’s get into it!

Ivy- Traces of You

Here are reunions, there are comebacks, and then there’s whatever Ivy just did.

Five years after losing creative engine Adam Schlesinger, and seemingly out of nowhere, Ivy is back with Traces of You.

The last time we heard new material from them was All Hours, a synth-forward pivot that left many fans blinking in confusion. Traces of You, by contrast, feels like Ivy returning to the house they built in the late ’90s and early 2000s.

What’s remarkable—at least to me—is that Schlesinger is everywhere. The band stitched his work back into the mix using fragments and demos tracked between 1995 and 2012. The result isn’t eerie or gimmicky. I’ve always disliked things like hologram performances, and wondered if this might feel similar. It doesn’t. Whatever they’ve done feels organic—authentic, not synthetic.

Dominique Durand still sounds like she’s whispering secrets from the other side of the door, while Andy Chase and longtime collaborator Bruce Driscoll know exactly how to frame that haze and shimmer.

Traces of You fits seamlessly into Ivy’s golden-era lineage. “The Midnight Hour” and “Say You Will” could easily sit on In the Clear, all velvet melancholy and zero wasted motion. “Heartbreak” flirts with bossa nova. “Lose It All” luxuriates in its own pace. And “Hate That It’s True” might be the most emotionally direct song they’ve ever recorded.

This record didn’t have to exist. No one expected it, and maybe that’s why it lands so powerfully. Traces of You feels like a gift, and it’s easily among their finest work. It’s a dreamy, deliberate, impossibly cool farewell…or perhaps just another pause. Either way, we’re lucky to have it.

Dar Williams-Hummingbird Highway

Though known for folk music, Williams knows her way around other genres. On her 13th release, she wastes no time doing just that. Put Coins On His Eyes is classic bluegrass. Tu Sais Le Printemps is a fun bit of bossa nova that will transport you to 1960s Paris, which makes for, as Williams puts it, “a light, flirty song amidst many gloomy news stories.” I’d submit that it’s just the sort of thing we can use right now.

The Way I Go is an uptempo track that will remind listeners of early Mary Chapin Carpenter work. I Want To See the Bright Lights Tonight is an excellent take on the Richard Thompson classic, kicking everything up just enough to get you moving. Maryland, Maryland is both a love letter to her home state and a call to action.

The styles are disparate, yet matched by Williams’ knack for crafting intricate narratives with rich storytelling that give you plenty to contemplate without weighing you down. Like any recipe, adding the wrong ingredient or the wrong amount can end in disaster. On Hummingbird Highway, all of these elements blend together to make a cohesive, compelling whole.

As Williams notes, “As I’ve gotten older, I feel more comfortable holding a lot of different threads in my hand to create more complicated patterns. Time has given me a better ability to hold a bunch of colors and temperaments and see what happens, where they become interesting new stories and also where I need to stop and untangle the themes and characters. It’s daunting, and I’ve learned that, you know, daunting is fine, just keep going.” Amen.

Maia Sharp- Tomboy

Maia Sharp has always written with a steady hand—and written tracks for plenty of others. Tomboy, her newest record, sharpens that instinct into something leaner, tougher, and oddly freer. Sharp shows her cards with the title: this album is about stance, and owning space you might have been told not to take up.

The production is stripped down here. Guitars cut nice, clean lines, and the drums are in the backseat. There are some horns, but they, too, are in a supporting role. Sharp’s warm, husky voice carries the weight. There’s a steadiness to it, a real old soul vibe.

She’s not going it alone, though; plenty of people are along for the ride, including Terri Clark, who joins her on “Asking for a Friend,” one of the highlights on the record.

What stands out is how unforced these songs feel. You don’t get the sense of Sharp chasing relevance, clicks, or bending toward trends. Instead, Tomboy is fueled by direct melodies, emotions, and stakes. The writing is as tight as ever, less about clever turns and more about saying what matters.

It’s the kind of album that sneaks up on you (or did for me, anyway). One listen sets the mood; give it a couple of listens, and things start to pop out at you.

In the end, Tomboy is Sharp playing to her strengths.

Also awesome:

JF Robitaille & Lail Arad- Wild Moves:

One of the coolest things Substack used to do was host workshops for writers. These meet & greets were not only informative—you always came away having learned something—but also genuinely fun. Part of the charm was the surprise; you never knew who you’d be paired with. At one of these sessions, I was lucky enough to be put in a cohort with

Lail Arad. She’s been making fantastic music for a long time, as has her partner Robitaille. Now, with Wild Moves, they’ve joined forces, and the result is a delight from start to finish. The record opens with Swim Toward Your Troubles, a track whose infectious refrain will have you singing along in no time. It only gets better from there.

Bleary Eyed- Easy:

You want some shoegaze? You got it! On their latest record, Philly’s Bleary Eyed bring it all; sludgy guitar, ethereal vocals, and just enough pop to keep you coming back for more. Somewhere Kevin Shields is looking on and smiling. (Huge shoutout to

josh terry for getting this on my radar!)

Tullycraft-Shoot the Point:

Good news for twee pop fans! Tullycraft is back with Shoot the Point, their first release since 2019’s The Railway Prince Hotel. This is a newer band for me, and if I’m honest, my capacity for twee is negligible. But in a case like this, it’s easy to get swept away on a wave of infectious hooks, back-and-forth vocals between Sean Tollefson and Jenny Mears, and tambourines… so many tambourines. A seriously enjoyable record from a band that doesn’t take itself too seriously.

Also: I’m callin’ it now: “Jeanine’s Up Again and Blaring Faith by The Cure” is the wildest song title that’ll grace this page in 2025.

As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?

Leave a comment

Discussion: What’re You Listening To?

by KevinLeave a Comment on Discussion: What’re You Listening To?

Good morning! Need an antidote for the algorithms? Looking for a place to share the music you love with like-minded people? You’re in the right spot.

As always, thank you to those who upgraded their subscriptions this past week. Your direct support fuels this community and makes a positive impact. Shares and reposts also help! Thank you!

When you’re ready, joining them is easy. Just click here:

I want more music!

On to the music:

For those of you who are new, we kick off every week by sharing what we’ve been playing.

The playlist below is some of what I’ve had in heavy rotation. This week over indexes on new tracks, with a couple of old faves balancing things out.

I know I keep saying it, but it’s true: 2025 might be a hot mess, but not where new music is concerned.

Other sources: Qobuz | YouTube Music (Missing Ivy)

Now it’s your turn.

What caught your ear this week? Any new releases or shows you’re looking forward to?

Whatcha got? Share your thoughts in the comments!

Leave a comment

Sound Advice: 05.Sept.2025

by KevinLeave a Comment on Sound Advice: 05.Sept.2025

The flood of great records continues! Today we’re taking a quick look at the latest from The Beths, Suede, Smut, and more!

Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.

Good morning!

Today we’re taking a look at the latest from The Beths, Jens Kuross, Smut, and more!

The boilerplate intro:

Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre or any other artificial guardrail we try and put up—

In other words, a ton of good stuff is coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below is another batch that caught my attention recently.

A lot of recent releases landed on my radar all at once, and I want to shine a light on them before too much more time passes. Not quite an 88 lines about 44 records kind of deal, but close. More of a clearing the decks, if you will.

Let’s get into it!

The Beths- Straight Line Was a Lie

As someone now squarely in middle age, I sometimes question writing about new, hip bands. Should a suburban dad be writing about whatever the kids like? I dunno. What I do know is that I like The Beths. I liked Expert in a Dying Field and love this latest release.

The record opens with a familiar ring, landing squarely in that Beths sweet spot: catchy enough to feel like it’s been rattling around your brain for years, but just weird and self-aware enough to ever get filed under “power pop.” But from there, things get… sketchier. Elizabeth Stokes has been candid about her recent health struggles. That shadow looms large here— not a downer per se, but in the gravity of song titles like “No Joy” and “Mother, Pray For Me,” and in the slower, more introspective undercurrent that runs through the record.

In the press release, Stokes noted, “I was kind of dealing with a new brain…it was like my instincts were just a little different. They weren’t as panicky.” She also mentioned that many of these tracks were written using a Remington typewriter, which IMO is fantastic. Hammering those keys daily for a month resulted in about 10 pages worth of material, much of which ultimately found its way here.

Still, this isn’t a total pivot. The Beths can still rip. “No Joy” is a sharp track, and “Metal” and “Best Laid Plans” punch through the clouds with bright, hyper-melodic jangle, the latter even flirting with some Day-Glo 80s new wave shimmer. “Roundabout” (no, not that “Roundabout”) feels like a lost gem from a late-night college radio set. As for “Take?” I’m not saying I listened to it 3x in a row on the drive home the other day, but I’m not not sayin’ it, either.

No lie: Look for this to be on a lot of AOTY lists come December/January. (Bandcamp Link)

Suede- Antidepressants

Suede’s tenth studio album is like a lightning bolt. Their first new music since 2022’s Autofiction feels less like a continuation and more like an aftershock—proof that this band, after nearly forty years in the game, has no interest in setting the autopilot and coasting along..

The record opens with “Disintegrate,” which feels like a rollercoaster drop into chaos. It’s loud, frayed, and hella angsty. That sets the tone for everything that follows: songs designed less as comfort food and more as jolts to our already overloaded nervous systems.

“If Autofiction was our punk record, Antidepressants is our post-punk record…It’s about the tensions of modern life, the paranoia, the anxiety, the neurosis. We are all striving for connection in a disconnected world. This was the feel I wanted the songs to have. The album is called Antidepressants. This is broken music for broken people.”

Suede frontman Brett Andersen

I first thought that “Disintegrate” would be the record’s feature track…and then track 2 started. “Dancing with the Europeans” is bombastic, theatrical, and over the top in all the best ways, and I’m 100% here for it. 

“Criminal Ways” reminds me of early Smiths (maybe “How Soon is Now?”) and is glorious and trashy in equal measure. Andersen is in full voice here, with the band swirling around him with the urgency of people who know time is short. This is Suede mining the same sounds that made them a force in the first place—only now with the added benefit of perspective. 

“Trance State” sounds like something that could have just as easily come from Republic-era New Order. I know, I know. I can see you shaking your head from here. But give it a listen—especially the bass line—and tell me it’s not reminiscent of Hooky’s work. Regardless, it’s an awesome track. 

Back to my original point, what’s most striking to me is how much Antidepressants refuse to “settle.” The lyrics are heavy with dread and dissonance and are particularly relevant in this moment when everything seems particularly fraught. 

Coasting would’ve been easy—and I don’t think anyone would’ve blamed them. Instead, they’ve doubled down on urgency and almost dare people not to pay attention. I know I’ve (over)used that word here plenty, but listening to the record, it’s the theme I keep coming back to.

Ten albums in, Suede sounds like a band running out of time but unwilling to slow down. The ultimate winner in all this? Us. The world might be coming apart at the seams, but at least we can say we were around to see some of Suede’s best work. (Suede’s website)

Jens Kuross- Crooked Songs

Kuross’s story is a familiar one: singer-songwriter decamps to LA with bright eyes and hope for the future, only to be chewed up and spit out by the machine. Sick of being on the fringes eking out a living as a session musician, he returned to Idaho and returned to basics. In this case, that means an entire record of just his vocals and an electric piano. The kind of thing you listen to with a glass of whiskey while you dream of going off the grid and building a boat by hand in a garage somewhere. On paper, this sounds like a solid concept. To be fair, this isn’t really in my wheelhouse, but even with that aside, I couldn’t get past the muddled mix. I’m sure that was intentional and meant to give the whole thing some sort of mystery or whatever, but Kuross’s voice is already an acquired taste. Doing this in a much more straightforward manner would have really gone a long way. With only his voice and the piano, you can only go so many directions, and Crooked Songs quickly falls into the sameness trap. If you like this sort of thing, it’s a fun place to be. For most of us, though, this is music best consumed in small doses. A song here or there is plenty. (Bandcamp link)

Smut- Tomorrow Comes Crashing

A lot has happened since Smut released their previous record, 2022’s How the Light Felt. The record had a poignant, almost ethereal quality, informed by the death of singer Tay Roebuck’s sister. At the risk of being too clever by half, in many ways, the record felt like the low light of autumn (not derogatory).

In the meantime, the band has moved, Roebuck and band member Andie Min married, and the lineup has changed, with John Steiner and Aidan O’Connor joining on bass & drums. That rhythm section sets an excellent foundation for a louder, cleaner sound. Think less Saint Etienne or Sundays and more Hole. It’s as if they’ve realized that the amps actually go up to 10. Andrew Rogers and Sam Ruschman are both on guitar, and while their presence is certainly out front, the ferocity never overtakes the sound. They alternate between clean hooks and blast furnace power chords at the right time/pace. Roebuck’s voice is the secret weapon here. She’s equally at home singing in an almost lullaby to a full-throated scream and everything in between. It not only keeps the gutiars in check, it elevates them.

Writing about the band in 2023, I noted:

You’re out of luck if you’re looking for a heavier, sludgy sound. You’ve hit pay dirt if you like your indie rock jangly with bright, clean vocals. And if you like all of that tinged with a 90s influence? Well, you might have a new favorite record on your hands.

Tomorrow Comes Crashing has something for both camps. (Bandcamp link)

Also awesome:

Planet Smashers-On the Dancefloor: Solid ska out of Montreal. I run hot and cold with this genre. I love first wave stuff, but have no taste for the unserious stylings of bands like Reel Big Fish. Not everything needs to be a joke! Thankfully, the band’s 10th record is enjoyable. Neville Staple of The Specials makes an appearance here as well. Rad! (Bandcamp link)

Mo Lowda & The Humble- Tailing the Ghost: Fun fact: These guys headlined the first show I saw post-COVID, and it was worth the wait. At any rate, Tailing the Ghost is More of the soulful sound you’ve come to expect from these Philly-based groove merchants, with tracks like “Canary” leading the way. Looks like they’re on tour again. If they’re comin’ your way, make a plan to check ‘em out! (Shopify link)

Terminal Buildings- Belles of the Bucket:The second of a 1-2 punch of records released nearly simultaneously. While A Binful of Bells was a sprawling affair, this is much more compact, and the tunes are much more economical. Speaking with frontman Finlay via email, he described the record as “[taking] the cast-offs that were too punchy to fit in with the rest of that album. The songs were written and recorded on either side of a move back to my home city of Aberdeen, which is why it took so long.” This is a fantastic dose of straight-ahead lo-fi power pop. Imagine a slightly more wistful version of GBV, and you‘ve got the gist. Also worth noting that these records are priced at Pay What You Can, with all revenue going to charity. (Bandcamp link)

As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?

Thanks for being here,

Kevin—

In Conversation: Gelli Haha

by KevinLeave a Comment on In Conversation: Gelli Haha

It’s time to take a rocket ride to the Gelliverse

Good morning!

We’re in for a treat today; Gelli Haha stops by to talk about her latest record Switcheroo, how it came to be, and what’s coming next.

There’s a particular kind of pop record that doesn’t wait to be invited in—it knocks down your door and dares you to keep up. Switcheroo, the debut LP from Gelli Haha (aka Angel Abaya), doesn’t waste time being performatively cool. It’s too busy being genius. Equal parts sugar rush, fever dream, and circus act, this kind of album turns overthinking into a punchline and escapism into high art.

Gelli Haha (pronounced “jelly”) has built a chaotic wonderland, aka the “Gelliverse,” where the synths are steady, beats alternate between hiccup-y and booming, and every note feels hand-drawn in crayon and glitter glue (and slightly outside the lines). Imagine your favorite dream pop band grabbing a copy of The B-52s’ Whammy! on the way to the launch pad, taking off, and crash-landing in an electroclash warehouse party in the coolest part of the galaxy.

That said, Switcheroo isn’t just wacky for wackiness’ sake. There’s a wry intelligence to it all, a real structure hiding beneath the glitz. Tracks like “Tiramisu” make you laugh…and then realize you’ve been singing along. “Spit” will remind you of all those hot, sweaty nights at the club back in the day. “Bounce House” is purpose-built for the pop charts. Seriously, why is this not climbing the Hot 100 already?! Even the deliberately juvenile “Piss Artist” glows with confidence and (per Bandcamp) revels in tequila-fueled storytelling about an infamous party moment (involving a jar — don’t ask, just dance). Fair enough! Another artist might’ve buried it as a skit. Gelli Haha put it right in the middle of the album. Meanwhile, tracks like “Dynamite” chug along at just the right pace/BPM.

The record saves the best for last. “Pluto is not a planet; it’s a restaurant” (this writer’s favorite track on the record) takes all of the above and puts it in a blender, pouring out grandiose synths, pulsing beats, and a cathedral sound that will make you feel like you’re floating untethered in space.

Maybe it’s just me, but here’s something liberating about how this album refuses to care what you think. It’s not just theatrical—it’s maximalist identity performance with zero fucks given apologies. Gelli Haha isn’t aiming for relatability; she’s too busy being a pop gremlin, and tbh, that rules. The whole project feels like a rejection of our (collective) obsession with being “real,” that’s often ripping through the usual music discourse channels. Instead, she turns her persona into a playground—and lets you run wild with it.

Switcheroo is weird, hilarious, and absolutely unhinged—and it might be the most fun I’ve had with a record all year. Listening makes joy feel like a radical act- a rare treat in the current era. Once you’re in the Gelliverse, you may never want to leave. I certainly don’t.

I recently had a chance to chat with her via email. In our wide-ranging discussion, we talked about how the concept for Switcheroo came to pass, what she hopes listeners will take away from it, and what’s coming next. Our chat has only been lightly edited for grammar and flow.

KA—

For those that might not know, can you walk us through the backstory of how this project came together?

Gelli Haha is a project born out of curiosity. I wanted to create something that was fun and moved people physically and emotionally—fun music to dance to, something mystical and enchanting, and silly. A couple of years ago, I started working with Sean Guerin of De Lux, wrote dozens of demos, and then created a live performance art world to accompany the project.

On Bandcamp, a supporter described the records as “…like Kate Bush meets Suburban Lawns, and it is pretty good!” Is that an accurate take?

It’s subjective, but I like those artists. Kate Bush was a top influence for the project. I’ve not listened to Suburban Lawns much, though. There’s more of an experimental, electronic flavor to the record as well that goes beyond these artists.

Switcheroo has been described as an “exercise in letting go, an inside joke turned theatrical spectacle.” Say more please.

In order to make the record, I had to let go of some old tendencies of mine. I can be a bit of a perfectionist and want people to take me seriously. This record sounds very free because I had to become very free to make it. We wanted the project to feel like something everyone is in on, like the audience is involved somehow. And it’s all just really goofy. When we perform, we have mini trampolines and dolphin balloons and boxing matches and snakes in a can.

Listening to the record, I can hear everything from Italodisco to the B-52s and back again. Are there any artists who had a particular influence on the sound here?

I’m a big fan of Björk, Animal Collective, of Montreal…and lots of obscure late 70s/early 80s records that Sean showed me. But I also grew up listening to pop radio and MTV, going to musicals, and being in a choir and orchestra, so there’s a lot of influence coming from everywhere.

What’s the songwriting process look like? What generally comes first, the music/beats or the lyrics?

I made about 45 demos, each a minute or so long. Sean and I picked which ones we liked the most and expanded upon them together. Vocals and lyrics followed suit. Sometimes, they came quickly, and other times, we had to search a little bit.

If you had to narrow it down, what’s one thing you hope someone will get out of listening to Switcheroo?

A laugh.

What’s next? Any shows? Touring? What’s the back half of 2025 look like?

We have some fun things in the works for later this year to be announced!

Last one, just for fun; I bump into you as you’re walking out of the record store. What records are you carrying?

Tom Tom Club by Tom Tom Club, Philharmony by Haruomi Hosono, and Oops!…I Did It Again by Britney Spears.

Listen:

Gelli Haha | Switcheroo (2025)

Click the record to listen on the platform of your choice.

Switcheroo out now. You can grab your copy here.

You can also connect with her via her Website or on Instagram.

Thank you to Gelli Haha for her time, and thank you for being here.

Kevin—

Discussion: What’re You Listening To?

by KevinLeave a Comment on Discussion: What’re You Listening To?

Good morning and Happy Labor Day to those of you reading in the U.S.!

Need an antidote for the algorithms? Looking for a place to share the music you love with like-minded people? You’re in the right spot.

As always, thank you to those who upgraded their subscriptions this past week. Your direct support fuels this community and makes a positive impact. Shares and reposts also help! Thank you!

When you’re ready, joining them is easy. Just click here:

I’m ready to ditch the algorithms!

On to the music:

For those of you who are new, we kick off every week by sharing what we’ve been playing.

The playlist below is some of what I’ve had in heavy rotation. This week has again been more of a balance between new tracks and old faves, with a local favorite thrown in for good measure.

2025 might be a hot mess, but not where new music is concerned.

Other sources: Qobuz | YouTube Music

*Note I expect to add Apple Music to the menu here soon. Look for that in the next week or two.

Now it’s your turn.

What caught your ear this week? Any new releases or shows you’re looking forward to?

Whatcha got? Share your thoughts in the comments!

A Few Underrated Soundtracks Worth Checking Out

by KevinLeave a Comment on A Few Underrated Soundtracks Worth Checking Out

Volume 8 | August 2025: Sam & I go to the movies

Good morning!

Today Sam Colt and I are each sharing a few of our favorite soundtracks…ones that might’ve been overlooked or deserve more time in the spotlight.

Welcome to the eighth installment of our (not so) new series! For those of you who may have missed previous editions, here’s a bit of context:

In this monthly series, Sam Colt and I will each share our picks for artists and/or titles that haven’t received their due. You’ll recognize Sam’s name from our On Repeat and Friends Best of Series, and also our Top 100 of all-time series last fall. These posts will adopt the latter’s format; I will make my case for my three picks and my reaction to Sam’s. Sam’s page will do the reverse.

In the inaugural post, we noted that successive editions would narrow things down slightly. Maybe a specific genre…maybe a specific era…maybe a specific…well, who knows!

In college, I took a 200 level film course as an elective. The syllabus covered several of the usual suspects ( Citizen Kane, Cabaret), and a few I never saw coming. All well and good, and I got far more out of the class than I assumed I would going in. Turns out I didn’t know very much at all about technique and cinematography.

But what I do know is records. And what really stuck with me were the soundtracks and film scores from each of the films. The way sound sets up & supports a scene is something I tend to focus on a lot. Case in point; if asked, I could maybe give you a rough outline of Cabaret’s plot. Ask me to sing a few bars of Willkommen, and we’re in luck.

And then there are soundtracks. To Live and Die In LA is a fun movie (and one of my faves), but it’d be nothing without it’s soundtrack. If you’re Gen X, Singles is iconic; but again, its the music that takes a good movie and makes it great. And that doesn’t even touch on all the John Hughes movies, and the soundtracks they gifted us. Don’t You Forget About Me? We couldn’t even if we wanted to.

This month, Sam and I are sharing a few picks that for whatever reason might’ve been overlooked. Some far outshined the movies they’re attached to, others might’ve been lost to time. Either way, we think they warrant a second chance.

Grab your popcorn, turn your phone off, and enjoy!

When you’re done here, remember to check out Sam’s take at This Is a Newsletter!

Let’s get to it!

KA—

Various Artists- The Saint

My first roommate was a huge fan of Val Kilmer—we’d call him a “stan” today, but back in the mid-90s this just meant watching whatever film he happened to be in, sometimes more than once (okay, like a lot more than once). I also happened to really like the original TV show, so when The Saint came out it was pretty much a lock that I’d be there to see it. The movie is… okay. I mean, Kilmer’s good and Elizabeth Shue costarred, but no one does Simon Templar the way Roger Moore does. This is another case where the soundtrack outshines the film it’s supposed to be supporting.

The record overindexes on EDM, with tracks from Moby, Daft Punk, The Chemical Brothers, and more. Orbital does a bang-up job reworking the original theme. You can also find Sneaker Pimps’ “6 Underground” here, a track that is far and away the biggest hit of the lot. Duncan Sheik’s here as well, and his “In the Absence of the Sun” proves there’s more to him than just “Barely Breathing.” Like any Music From the Motion Picture, there’s bound to be some filler, and a couple of tracks here are less than stellar (looking at you, Duran Duran)—but in their defense, they at least fit the vibe of the film. That said, this works much better as a record per se than as part of the movie.

The whole thing screams “90s sound,” but when it’s packed with bangers from start to finish, who cares?

Sam’s pick and my take: Various Artists- Baby Driver

Sam shared his picks first, and seeing this made me say “f**k!” at my screen. Not because I was mad at him; rather, I was mad at myself for not having thought of this one. This soundtrack is one of my faves. I mean, it starts with the Jon Spencer Blues Explosion and just heats up from there. Jonathan Richman, The Damned, and Martha & The Vandellas? All in one place? Are you kidding me?! Yes please. I just wish I’d grabbed it first.

(punches air)

Trent Reznor & Atticus Ross: Challengers (Original Score)

One of the things about being a parent they don’t tell you is the weird side quests you’ll find yourself on. I have no idea how tennis is played. I mean, I get the general idea, but no clue on the scoring or terminology. My player trajectory consists of a few lackadaisical games played over beers at my first apartment. But there I was last week, watching my son’s girlfriend play in a high school match. I was a little lost, but it was a great night and I’m glad we went.

Likewise, I have no idea when Trent Reznor moved into soundtrack work, but I’m glad he did.

My Nine Inch Nails trajectory starts and peaks at the same spot—the beginning. Pretty Hate Machine is a masterpiece, and Reznor set the bar impossibly high. The rest of their discography ranges from “1–2 killer tracks, but I’ll pass on the rest” to “I didn’t listen to it.” YMMV.

So I was a little surprised when I saw him starting to work with artists like Fever Ray on their Radical Romantics record. I also have no idea when the duo moved into the soundtrack realm, but I’m glad they did. Challengers is a tennis movie—at least nominally. I can’t comment on the film, ’cause I haven’t seen it. But I’d like to think the soundtrack at least follows the plot arc—beginning, peak, denouement. Sure sounds like it does, anyway.

What I liked best about Pretty Hate Machine is what I like best about Challengers—the tracks sound like they belong more on a dance floor than in a dungeon. It’s unmistakably Reznor and Ross, but these are tunes that make you want to move as opposed to evoking images of an angle grinder or whatever fever dream Fever Ray is having.

Sam’s pick and my take: Master of None

I’d never heard of this show (if this sounds like a recurrent theme, trust your gut) before Sam suggested this soundtrack. Pulling it up on the platform we all love to hate, I was surprised to see it had over 7,500 saves… and then I looked at the songs themselves. Joy Division? You know I’m already sold. New Edition… Lou Reed… The Cure… it just keeps going.

I’m mindful this is an extremely narcissistic take, but this is the sort of list that feels like it was made just for me. Should I be watching this? Wouldn’t be the first time I watched a show for the music. If you’re a fan, weigh in below—I’m curious to hear your thoughts.

Various Artists- The Wild Life

Oh hey, an ’80s movie with Lea Thompson and Eric Stoltz? That’s interesting news (rolls eyes). Actually, this is a movie best forgotten. It’s also got a Penn and a Quaid (as in Chris and Randy). So yeah…

But we’re not here to talk about the film, we’re here to talk about the soundtrack. And if ever there were a case of the soundtrack outshining and outlasting the film, this is it, and follows the lead of Streets of Fire (which came out a few months earlier).

The Wild Life is from the same finishing school that gave us such Oscar contenders as Hot Dog…The Movie, and Zapped—mildly tawdry, some action scenes, a couple of A (or B) list talent, and a thin veneer of a plotline to ostensibly tie it all together. Yeah, sure.

In the same way that The Saint embodies late ’90s EDM, The Wild Life’s roster is a snapshot of the mid-’80s; but here’s the twist: with the exception of Bananarama (the title track) and Eddie Van Halen, these aren’t people you’d usually associate with the big screen. In ’84, Andy Summers was still doing big things with The Police, not solo work. Ditto Peter Case, who might be known more for tracks like this from his time in The Plimsouls—or this one later covered by Blondie.

The Paisley Underground is well represented here (speaking of things that don’t get enough due). In addition to Case, The Three O’Clock are here as well. And there’s a Go-Go track, because why not? (Spoiler: it’s not Belinda Carlisle or Jane Wiedlin.)

Sam’s pick and my take: Various Artists- Pulp Fiction

If you ever want to see how old someone is, play a few bars of Stealers Wheel’s “Stuck in the Middle With You,” and see what happens. If they reflexively start dancing like Mr. Blonde in Reservoir Dogs, that’s a tell. Same story with playing Naughty by Nature’s “Hip Hop Hurray” (waves arms). And if you’re of a certain age, you know how this trifecta rounds out: play a few bars of Chuck Berry’s “Never Can Tell” and see what moves are busted.

In the streaming era, we can have everything, anywhere, all at once. On one hand, that’s phenomenal. But by design, that also means audiences are irreparably atomized. Appointment viewing is something your parents carry on wistfully about as they scroll Facebook looking at style memes (and using their index fingers to do it).

A lot of people have seen Pulp Fiction, but not nearly enough. It would be disingenuous to call the film underrated. It is absolutely appropriate to describe the soundtrack that way. Say what you will about Quentin Tarantino’s style, but he knows what he wants out of a film and knows who to tap to get it—in this case, Karyn Rachtman, who did both Reservoir Dogs and Pulp Fiction (and worked on Reality Bites at the same time). Whether she uses Dick Dale’s “Misirlou” or knows just when to work in a Maria McKee song, Rachtman is masterful at soundtracking his vision—and we’re all the better because of it.

That’s a wrap! What are your thoughts on these records? Do you own any of them? Share your thoughts in the comments! Rants, raves, and spicy takes are all welcome. And if you have any ideas on future themes, please share those as well! Don’t forget to check out Sam’s thoughts over at This Is a Newsletter!

Thanks for being here,

Kevin—

Discussion: What’re You Listening To?

by KevinLeave a Comment on Discussion: What’re You Listening To?

Good morning! Need an antidote for the algorithms? Looking for a place to share the music you love with like-minded people? You’re in the right spot.

As always, thank you to those who upgraded their subscriptions this past week. Your direct support fuels this community and makes a positive impact. Shares and reposts also help! Thank you!

When you’re ready, joining them is easy. Just click here:

I’m ready!

On to the music:

For those of you who are new, we kick off every week by sharing what we’ve been playing.

The playlist below is some of what I’ve had in heavy rotation. This week has been more of a balance between new tracks and old faves. That said, a TON of great new records came out this past Friday, so who knows what next week’ll look like?

2025 might be a hot mess, but not where new music is concerned.

Other sources: Qobuz | YouTube Music

Now it’s your turn.

What caught your ear this week? Any new releases or shows you’re looking forward to?

Whatcha got? Share your thoughts in the comments!

Discussion: What’re You Listening To?

by KevinLeave a Comment on Discussion: What’re You Listening To?

Good morning! Need an antidote for the algorithms? Looking for a place to share the music you love with like-minded people? You’re in the right spot.

As always, thank you to those who upgraded their subscriptions this past week. Your direct support fuels this community and makes a positive impact. Shares and reposts also help! Thank you!

When you’re ready, joining them is easy. Just click here:

I’m Ready!

On to the music:

For those of you who are new, we kick off every week by sharing what we’ve been playing.

The playlist below is some of what I’ve had in heavy rotation. This week, it is again overindexed on new (like, brand new) releases from the likes of OSEES, San Gabriel, and Field Hospitals—always a good thing! There are also a couple of faves from

Hazel English, Fine Young Cannibals, and more!

2025 might be a hot mess, but not where new music is concerned

Other sources: Qobuz | YouTube

Now it’s your turn.

What caught your ear this week? Any new releases or shows you’re looking forward to?

Whatcha got? Share your thoughts in the comments!

The Tragically Hip’s “Up to Here” | A Quick Look at the 1989 Debut Album that Launched a National Obsession

by KevinLeave a Comment on The Tragically Hip’s “Up to Here” | A Quick Look at the 1989 Debut Album that Launched a National Obsession

Overlooked outside of Canada, The Tragically Hip is worth a second listen

Good morning!

Today Graham Strong’s taking the wheel and is talking about The Tragically Hip’s Up to Here.

Today we’re lucky to have friend of On Repeat Records  Graham Strong sharing his thoughts on The Tragically Hip’s album, Up to Here. If you’re not already familiar with his work, Graham is the man behind To Write With Wild Abandon, where he helps writers overcome obstacles and emphasizes having fun along the way. It’s a never miss newsletter, and his work is well worth your time! When you’re done here, please check it out!

Today, Graham’s making his case for why Up to Here deserves to be in the running for Best Record of 1989. I’m happy to have him; this is a band that for whatever reason has always been a bit of a blind spot for me. One of these days, I’ll do a deep dive into their discography and see what I know I’ve been missing. In the meantime, I’m happy to have an expert fan weigh in!

And with that, I’ll get out of the way…

KA—

How would I describe The Tragically Hip?

Imagine a band that can grab you like Elvis, Bruce Springsteen’s power and patriotism, Paul Simon’s poetic lyrics, and the Rolling Stones’ straight, thumping rock songs that beg to be turned up to 11.

“Oh, that’s over-hyping them,” you might say. But I’d reply no, that’s exactly how fans might describe The Tragically Hip. Let me explain why.

Unless you grew up in Canada when The Tragically Hip first started playing, it’s hard to understand the full impact of this band. It baffles me that, except for a few pockets around the world, people outside of Canada don’t seem to get the Hip. It’s like the Beatles showed up in New York one August evening after taking over the world, and everyone in summery Central Park just stood there and stared, unable to make heads or tails…

My sense from the comment sections of On Repeat Records is that the readers here are more open to things that are different. So I’ll tell you why I think the Hip’s debut full-length album, Up to Here, released on September 5, 1989, deserves to be on the list of the best albums of that year – and why you should give them a listen.

A short bio: The Tragically Hip formed in 1984 in Kingston, Ontario, about three hours east of Toronto. The line-up from left to right on the Up to Here album cover: Gord Downie, singer, lyricist, and frontman; Gord Sinclair, bass and back-up vocals; Johnny Fay, drums; Rob Baker, lead guitar; and Paul Langlois, rhythm guitar and back-up vocals. They started as one of those hard-working bar bands who showed up no matter how far the drive through the night, playing throughout southern Ontario before touring across Canada and into the States and Europe.

After a successful EP, the band recorded Up to Here at Ardent Studios in Memphis. Until this point, the Hip hadn’t broken out, even in Canada. But four singles from the album changed that: the sometimes soft, sometimes loud “Blow at High Dough” (great album opener), the straight-out rocking “New Orleans is Sinking” (my favourite song of all time), the bluesy “Boots or Hearts”, and the Canadiana ballad, “38 Years Old.”

The Rolling Stones comparison from above is apt for this album. Many of the songs are hard-edged, bluesy rockers. You’d be forgiven if you mistook the opening to “Trickle Down” as a Stones song.

But the important thing – and what makes this album so important – is that the proto-DNA of what would become the Hip is already percolating underneath the familiar rock beats. As all good bands do, they would mature as songwriters, but this album laid a solid foundation. For example, even Stones-y “Trickle Down” features chord changes that are undeniably Hip. And that’s not all – the lyrics, the tight-but-loose playing style, the social commentary, the Canadianess… It’s all there in those first vinyl grooves.

Ah yes, and there’s their so-called Achilles’ heel – being too Canadian for international markets. That comment always bugged me. Here’s the thing: you don’t have to get the Canadian references to enjoy the songs. Many Canadians didn’t even get them until they were pointed out. They’re just… lyrics.

But, great lyrics. Wow, what a poet Gord Downie was! Like the rest of the album, his lyrics on Up to Here are proto, but the story in “38 Years Old” – imagined from a real jailbreak near Kingston – has incredible impact in just 275 words, eight of which are repeated five times. That takes talent.

Here’s another example from “Opiated”, the last track on the album:

He bought two-fifths of lead-free gasoline.
Said, “The bottle is dusty, but my engine is clean.”
He bought a nice blue suit with the money he could find.
If his bride didn’t like it, St. Peter wouldn’t mind.

Nothing earth-shattering. And at least one line pulls from another song – The Grateful Dead’s “Brown-Eyed Woman.” But for the debut album of a straight-rocking band? None too shabby, either. Makes Robert Frost’s snowy woods look like a stroll through the park.

Up to Here made the Hip instant rock stars. The album went Platinum with 100,000 units sold in the first six months (hey, we have a tenth of the US population) and Diamond within 10 years (1,000,000 records). They won a Juno, the equivalent of a Grammy in Canada, for “Most Promising Artist” in 1990.

They certainly lived up to the award. The Tragically Hip’s popularity exploded in the 1990s. The band released 12 more studio albums in their career (10 reached Platinum or higher) and they made an appearance on SNL in 1995.

But their live shows were where they really rocked. Probably the best Hip concert I saw was at Grandma’s Sports Bar in Duluth, Minnesota, with 997 raving fans from Thunder Bay, Ontario, and three or four locals wondering what the hell was going on… The Tragically Hip remained a bar band in spirit to the end.

And that’s what Up to Here is: a great bar-band album that is solid in its own right, but also a glimpse of the amazing things to come.

Gord Downie died in 2017 from a rare form of brain cancer, gutting millions of fans. Just like Elvis’ death did, just as John Lennon’s. Except for a couple of special one-offs, the band doesn’t have the heart to play with a new singer à la Queen or Journey. I don’t blame them.

Their music, of course, is still there for the listening. Spotify now has a preview button that will give you a good taste of the album, if you want to zip through tracks. But if you’re looking to sample full songs, I’d go with the singles in the order they appear on the album: “Blow at High Dough,” “New Orleans is Sinking,” “38 Years Old,” and “Boots or Hearts.” There’s not a bad song here, but those may be the most approachable for the first-time listener.

Oh, and one more thing. Crank your headphones to 11. Like I say, the songs are begging for it.

Graham Strong is a freelance writer and die-hard Hip fan. He writes about the common pitfalls and fears writers face, and how to overcome them on his Substack site, To Write with Wild Abandon.

Kevin here again:

Thanks to Graham for his time and for sharing his thoughts on The Tragically Hip, and to you for being here.

My vote: Today’s matchup sees The Hip taking on the much higher-seeded Seeds of Love by Tears for Fears. My bracket pick was a straight play for the higher seed (and the record I’d actually heard.) As for my vote today? I’m on the fence, but leaning toward underdog; Graham’s made a pretty compelling case for Up To Here. It’s great album- turns out I really have been missing out!

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Check out the full bracket here.

Info on the tourney, voting, and more is here.

As always, thanks for being here.

KA—

One of These Albums Changed Music Forever – The Other Didn’t

by KevinLeave a Comment on One of These Albums Changed Music Forever – The Other Didn’t

The Best Record of 1989, Day 57: #6 Nirvana, Bleach vs. #123 The Rolling Stones, Steel Wheels.

Good morning!

Today we’re taking a quick look at records from Nirvana and The Rolling Stones

Note: As many of you know, I recently wrote about a Best Record of 1989 challenge and noted that I’d occasionally write some of these up.

I’ve started doing some quick hits of each matchup and posting them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably definitely be some typos.

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks are always appreciated.

KA—

Note: Today’s piece draws heavily from anarticle I wrote in April of last year marking the anniversary of Kurt Cobain’s passing.

Nirvana, Bleach

It’s weird to find myself at an age where I can start a story with “I remember when” without irony.

Nirvana and Kurt Cobain are no exception. I recall with razor-sharp clarity how hearing ‘Negative Creep’ live off “their upcoming record” felt like a kick to the head. It was amazing, and everyone in the crowd that night knew we were at the starting line of something special.

Barreling to my local Tower Records in a car whose steering wheel I couldn’t see over to get Nevermind? Yep. That too.

They played great music, no doubt. But their relatability was magnetic. Come for the music, stay for the down-to-earthiness. Krist Novoselic always struck me as the proverbial older brother of my friends. The one who was either an upperclassman in HS, or went to Reed. An itinerant presence, but one that always came with a smile and cool records.

Cobain was something else. I think what made Cobain so relatable was the feeling that he was one of us. Aberdeen Washington isn’t that close to where I grew up, but people tend to generalize the entire Pacific Northwest as where they’re from.

Different license plates be damned; he was one of us.

There’s a great line early on in Michael Azzerad’s recent article about his time with the musician where he says :

…and two things struck me instantly. The first was: oh, wow, I know this guy. He wasn’t some sort of rock-and-roll space alien—he was actually like a lot of the stoners I went to high school with.

Reading that 30+ years later hit me the same way ‘Negative Creep’ did all those years ago. I “knew” that guy, too. In a lot of ways, I was that guy.

Back to the record:

Before Geffen, Smart Studios, Courtney Love, or even Dave Grohl, there was Bleach. Nevermind’s time stamp marks the group as a ’90s band, and it’s close, but the reality is they were tearing the roof off of clubs and upstaging headliners well before that. My words above weren’t meant to be hyperbolic; we really did feel like we were witnessing something amazing. A lot of bands back in the day were awesome, but not like this. Even in the early days, Nirvana was extraordinary.

This was even before picking up their music at Tower Records. They were on Sub Pop, and I have no idea about any distribution deals, but I can tell you I picked up my copy of Bleach (on cassette, thankyouverymuch) at a place called Locals Only Records in Beaverton. That wasn’t false advertising; they only sold music by artists from the Pacific Northwest. Aberdeen counts.

If Nevermind is mentioned in the same breath as Pearl Jam, Bleach deserves to be mentioned in the same breath as (relatively) lesser-known Seattle bands like Tad and the Melvins. It’s heavier, with sludgy riffs and a chugging rhythm section (Chad Canning and Dale Crover were on drums here).

“Negative Creep” is like standing in front of a blast furnace, and for my money, it is still one of the best tracks they ever put on tape. “Love Buzz” puts a fantastic spin on the Shocking Blue track and, dare I say, bests it. Opener “Blew” is a maelstrom.

Kurt Cobain gets an early chance to show off his songwriting here. Tracks like “Floyd the Barber” lean toward the absurd, but he truly shines on “About a Girl.” It turns out he’s got some chops. It was not always the easiest thing to hear behind the wall of fuzzed-out stoner rock we were getting, but it was there, just waiting for us.

Cobain’s untimely death and the band’s relatively short lifespan mean that they are often lionized (see also Joy Division). That’s fine. I think it’s safe to say that Nevermind changed the world—it’s a record that rearranged plenty of minds. But that momentum starts with Bleach. “Negative Creep” walked so that “Smells Like Teen Spirit” could run. I’m just glad I was there to see it.

The Rolling Stones, Steel Wheels

If you ever want to get the prototypical “music guy” (and they’re almost always guys) to launch into a stemwinder about how music today sucks, say something mildly negative about the Stones…or say something like Undercover has a couple of good songs. Or just leave ’em out of your Top 100 albums altogether. Trust me; it’s like moths to a flame. Just give your inbox a heads up about what’s comin’.

So, at the risk of taking a swing at that hornet’s nest, I’ll say this: Steel Wheels is an incredibly mediocre record. It’s home to one of their best tracks (“Mixed Emotions“) and forgettable tracks like “Hold on to Your Hat.” It also has an “Almost Hear You Sigh,” which is somewhere in the middle. A serviceable enough ballad, but one weighed down by too many coats of polish. I’m sure in ’89 some people wore out this cassingle during a break up or whatever, but are we sure this is the same band that put out tracks like “Gimme Shelter?’

Steel Wheels served as a reunion record of sorts, with Keith Richards and Mick Jagger burying the hatchet and laying some tracks down. That’s all well and good—it ensured another 30+ years of tours where they played the hits—but it would’ve been nice to see something novel come out of this reconciliation.

My vote: Look, I get why people have an affinity for the Rolling Stones. We tend to latch onto bands we first heard in our youth. I feel the same way about Nirvana- it would be hypocritical of me to say anything otherwise. That said, the Stones’ records of yore are not the same ones they released mid-career. The edges have been sanded off. There’s not a lot of ‘there” there. It’s commercially viable, but also the stuff of commercials. Bleach is a record whose edges are impossible to wear down. Love it or hate it, it’s one of the first green shoots of what was to come. And what was to come was incredible. My bracket pick and vote will both be going for Nirvana.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Check out the full bracket here.

Info on the tourney, voting, and more is here.

As always, thanks for being here.

KA—