Tag: Playlists

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—

The Best Record of 1989: Day 56: #46 Steve Reich, Different Trains vs. #83 Concrete Blonde, Free

by KevinLeave a Comment on The Best Record of 1989: Day 56: #46 Steve Reich, Different Trains vs. #83 Concrete Blonde, Free

Insert catchy subtitle here.

Good morning!

Today we’re taking a quick look at records from Steve Reich and Concrete Blonde

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—

More than once during this series, I have hit the keyboard with no idea what I’m going to type out. Maybe I don’t know the record…maybe I’m agnostic toward the band…whatever the reason, there’s not a clear/cut direction mapped out ahead of time.

For me, that’s part of the fun. Can I make this work? Can I sculpt these random thoughts into something both entertaining and informative for anyone on the other side of the screen? We’ll find out before too long, but I’ll tell you this for free: if any record’s gonna pressure test that ability, Steve Reich’s Different Trains is it. I’d never heard of either him or the record. Because I’m a chaos agent, I like to be spontaneous, so I decided to go cold without doing any research first. If you are familiar with this record, you’ve probably already sussed out the ending by now and can skip ahead to my thoughts on Concrete Blonde. For everyone else, let’s see where this ride takes us…

Pulling it up, I see it’s Steve Reich and Kronos Quartet. I only vaguely know the latter name, and if pressed to name a single piece of work by them, I would fail. This clearly is something not in my wheelhouse, either now or in 1989. But it’s also seeded relatively high, so I’m hoping that it’ll be interesting even if it isn’t something appealing to me. Mostly, I just want something tangible or an interesting angle.

The short version is this: there are three songs, er, “movements,” and the intensity ramps up with each successive track. There are voice snippets here, each growing ever shorter until they simply become notes in the work(s) themselves. There are also on-brand sounds such as steam trains, whistles, brakes, etc. It all makes for work that leaves the listener disoriented. It’s pretty intense—and I like me some intense. Once I learned the backstory, it became even more so.

Reich, as it turns out, was a child of divorce. His parents split early, and he spent a lot of time riding the rails across the country between his mom’s new home in LA and his dad’s in New York. Later, it would dawn on him that at the same time he was criss-crossing the US, other kids his same age were riding trains with much uglier destinations; Auschwitz, Dachau, etc. A real case of “there but for the grace of God, go I.” The voices we hear on the record are from his governess, a porter on the trains Reich regularly rode, and three holocaust survivors. Different Trains is intense before you know the backstory. It becomes downright harrowing once you do.

I’ve been thinking a lot about that lately- how where/when you ‘re born is the structure to your life’s story. I’ve been viewing it through the eyes of a middle-aged dad who spends a lot of time wondering how he got here (and where his glasses are). But at the same time, how fortunate a hand I was dealt. I was the right age at the right time to be one of the first to see more than one band that would change the world (more on that tomorrow!). My parents’ decision to buy a home where they did meant proximity to kids who would also be music nerds, and of course, the wonder that is Oregon1. Mt. Hood? Way good.

And so too is this record. I don’t have the technical savvy to discuss the specific elements of the record (the cello is nice, I guess?), but I can definitely vouch for this being a ride that’ll leave you more than a little shaken. It’s one you don’t easily forget. In 2025, “Never forget” seems more imperative than ever.

Please don’t be the one with Joey on it
Please don’t be the one with Joey on it
Please don’t be the one with Joey on it

~Me, pulling this record up to play

My not-at-all-subjective take on Concrete Blonde going in was this: I don’t like “Joey.” Like, at all. I love “Still In Hollywood.” Like, unequivocally. “Bloodletting” (the song) is cool in a sort of sleazy way. Everything else is up for grabs.

About four tracks in, I feel a strange sensation come over me. Do I…do I like this record? Yes, yes I do. Time to tear up my old thoughts on the band, and at a minimum, carve out an exemption for this record.

So “Joey wouldn’t” come for another year (yay!), and in the meantime, we get a gritty, just sleazy enough record packed to the gills with chunky riffs and Johnette Napolitano’s voice. There are some who’ll tell you she can’t quite stay on key. Doesn’t matter. The sheer force of these pipes is something to behold. And the list of people who sing worse is a mile long. More importantly, it feels purpose-built to match the music here. It’s something you hear in impossibly hot clubs with low ceilings and bathrooms that qualify as Superfund sites. It’s delicious. Put together, the record feels perfect to soundtrack the side of LA tour buses that don’t take you through. The world of dive bars, out-of-this-world Mexican food that never gets Instagrammed, and the sorts of unforgettable characters that make for great song lyrics.

My vote: I would love to say that Steve Reich’s record is now hopelessly quaint. An anachronistic recording of an event that could never possibly happen again, but we’d both know I was lying. At age 36, its lessons have more urgency now than they did when it was released. A record doesn’t have to be in your wheelhouse to tell a riveting, necessary story, and this one does.

Going the other way, Concrete Blonde delivers a snapshot of a very specific vision of Los Angeles that most people either never see or that has been lost to time and/or the clouding of memories. In this version, the beer is cheap, adventure plentiful, and things are just dangerous enough to get interesting. And that’s my kinda town. My vote’s for Concrete Blonde (not having “Joey” on the record also helps).

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—

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 have upgraded your subscriptions this past week. Your direct support fuels this community and makes a positive impact. Shares and reposts all help as well! 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 found me again listening to a ton of new (like, brand new) releases from the likes of Cyan Pools, Dar Williams, and Great Comet. Always a good thing! 2025 might be a hot mess, but not where new music is concerned.

Playlist sources: Spotify | 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 Sugarcubes ‘Here Today…Tomorrow…Next Week!’ | What Could’ve Been, Would’ve Been…Should’ve Been!

by KevinLeave a Comment on The Sugarcubes ‘Here Today…Tomorrow…Next Week!’ | What Could’ve Been, Would’ve Been…Should’ve Been!

The Best Record of 1989: Day 54: #51 The Sugarcubes, Here Today, Tomorrow, Next Week! vs. #78 3rd Bass, The Cactus Album

Good morning!

Today we’re taking a quick look at records from The Sugarcubes and 3rd Bass.

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.

In case you missed any from earlier this week:

Camper Van Beethoven’s Key Lime Pie Record Is the Story of a Nation Crumbling Under Reagonomics

Was Blind Man’s Zoo the Last “Real” 10,000 Maniacs Record?

Is The Jesus and Mary Chain’s ‘Automatic’ a…Dance Record?

Note: Thoughts on tomorrow’s match are below.

KA—

You know those clips on YouTube where they isolate the bassline from a hit song, or Michael McDonald’s voice from “Peg?” Imagine something like that, but where you could edit out an element.

Now, picture using the audio equivalent of Control + F to find/delete everything related to Einar Örn’s vocals from The Sugarcubes’ Here Today, Tomorrow Next Week! You’d have a contender for record of the year, with fans split over whether it or Life’s Too Good is their best. I like Stick Around For Joy, but let’s be real—I might be alone on that.

Here Today, Tomorrow, Next Week! should’ve been the album where The Sugarcubes leveled up by doubling down on what made Life’s Too Good so memorable. Instead, they ran with the one element that worked because it was restrained and put it front and center. Imagine being the producer and hearing, “More Einar everywhere!” Yeesh.

On Life’s Too Good, Einar appeared in just the right doses, playing something of a foil to Björk—it worked, because it was contained. Here, the leash is off, and his constant interruptions drag down nearly every track.

I don’t mean to pile on here, but at the same time I kind of do—especially since his trumpet playing is one of the things I like most about this record. Why couldn’t he have focused on that instead? What’s with wanting to be the North Atlantic version of Fred Schneider?

Meanwhile, Björk is in fine form, throwing herself into these songs with a fury that hints at her later solo career. You hear her pushing her limits. Just when you think, Yes! Yes!—Einar bursts in with more yelped nonsense, and all bets are off.

Musically, there’s a lean, angular energy, with tight, new wave-adjacent grooves and just enough pop sparkle to keep things moving. The horn sections shine, especially on songs like “Tidal Wave.” The rhythm section is locked in, pushing things forward nicely. It makes you want to like this record more than you do. Which again begs the question—why not steer Einar toward his strengths?

Back to YouTube: imagine you’ve erased Einar’s vocals and are listening to the improved version. The sound has evolved, and the grooves have more substance. It still tries to be a party record but is less about novelty and more about what the album could have been.

That’s the rub. The record succeeds in many areas: Björk shines, and the band delivers. So what happened? Did Einar have outsized sway, or did everyone agree? It feels self-sabotaging.

The other fault is that it drags on too long. It feels longer than Life’s Too Good, despite actually being shorter. Someone should’ve made the unilateral decision to cut “Hot Meat,” which feels like a Temu version of “Cold Sweat.”

Here Today…is a record that comes so close, but with Einar’s overwhelming presence, it ultimately misses the mark. Still, if you lean in close, you can hear real gold. Here Today, Tomorrow, Next Week! is the band at a crossroads, unsure of what to keep or cut.

Sometimes it works—but more often, it’s just exhausting.

For the third Bass, I had to phone a friend. I had a feeling that we liked a couple of tracks, but otherwise, we spent most of our time pointing and laughing at MC Serch and Pete Nice. Turns out my memory failed me (quelle surprise!). My buddy texted back within minutes, saying, “The Cactus Album is a Classic.”

Okay, so that’s sorted then.

Listening to the record, I’m surprised at how well it’s held up and the creativity of the samples used. I wasn’t expecting a Blood Sweat and Tears track sample here, but it’s also possible I memory-holed it like everything else. I did remember “Gas Face,” and it’s as fun now as it was then. Does 50-year-old me find the same appeal that teenage me did? Apparently, yes. Same story with “Steppin’ to the AM” (home of the sample mentioned above). Do two tracks a record make? No, but this was a nice enough way to soundtrack part of my shift at work.

My vote: Took the easy out here, and went with The Sugarcubes. For all its faults, this is still a Sugarcubes record and Björk’s on it. That’s some gravitational pull. Also, another example of the performative voting we’ve seen previously (and will see again).

Ask yourself: Who’s cooler: Bjork or MC Serch? Exactly.

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—

P.S. Tomorrow’s Match Up features #19 Neneh Cherry’s Raw Like Sushi taking on #110 Don Henley’s End of the Innocence.

One I’d never heard before now, and one I’m ambivalent (at best) towards. Decided to punt on this one and give myself a pass on writing it up. My bracket pick and vote will both be going to Neneh Cherry.