Tag: Ska

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—

Announcement: An Album of the Month Event You Should Check Out

by KevinLeave a Comment on Announcement: An Album of the Month Event You Should Check Out

We’ve got a great host and a killer record, all set to go. All we need now is you! Here’s how to join the fun.

Cover art courtesy of IRS Records

Good Morning!

Today we’re talking about The English Beat’s Special beat Service, and well, how you can talk about the band with other like minded people.

Note: As some of you know, I’m one of the editors for an online music publication called The Riff. Each month, we host an album discussion (via Zoom), which is coming up on Sunday.

To be clear, all credit goes to Terry Barr and Scott Fountain, who facilitate the meetings, and Jessica Lee McMillan, this month’s host. These three are doing the heavy lifting.

As you’ll see below, these are low-key affairs; all are welcome! If you want to share some thoughts, that’s awesome. Wanna just sit back & listen? That’s cool, too.

Either way, it’d be better with you there.

KA—

It’s that time again; it’s time for our monthly album discussion!

One of our core tenets is sharing music. That obviously involves writing about it, but also talking about it together. We do that monthly here.

This Sunday, August 24th, is that day.

Below is my boilerplate explanation of these discussions and the value you’ll get from joining us. Under that are both the record being discussed and the meeting login details.

  • Don’t know the record? Doesn’t matter.
  • Not comfortable speaking in public? Me either. And you don’t have to if you don’t want to. Heck, you don’t even have to turn your camera on. It’s a safe space, but you control what you share.
  • Ultimately, you’re part of the community; we want you to be a part of this, too.

So check out the “rules” below, and then plan to dial in.

What is this?

For new readers (hi everyone!), we host an online discussion every month.

Here’s how it works:

  • A writer (more on that in a second) picks a record to discuss and writes a brief piece about their choice and the meeting details.
  • At the meeting, they discuss why they picked it, offer a bit of a backstory/context, and whatever else they’d like to share.
  • Everyone else on the call can share their own “hot take,” related story, or anything else you think is relevant.
  • At the end of the meeting, the next month’s writer volunteers (or is chosen), and the process repeats itself.

NOTE FOR INTROVERTS: If you’d prefer to sit in and listen, that is 110% okay. Keep your video off…stay muted…it’s up to you. It’s a safe place; you can participate as much/as little as you’d like.

This month’s host:

This month’s host is Jessica Lee McMillan, a poet, writer, and teacher based in Vancouver, B.C. Her work has been featured in dozens of publications. You can see more of her writing here or on her website.

Cool! So, what are we talking about?

Jessica has chosen ‘Special Beat Service’ by The English Beat..

From her article explaining her pick:

I am still grateful for the third wave, which brought The Specials back into rotation at clubs. I was only a few years old when the Beat emerged, and I had records and cassettes of General Public and Fine Young Cannibals. But I have to thank that third wave for making its way into the goth community here in Vancouver, where — of all places — I first learned to skank to Madness in my late teens.

Musical influences can travel anywhere — like language — and while we want to respect its origins, genre — like language — is a living thing that evolves and migrates.

Special Beat Service is the album you intentionally pull out several times a year. It is a rock. It is a place to return.

That’s why I have chosen it for the album of the month.

Musical adventure, exploring new sounds, and sharing great music with great people make these discussions a joy.

Join us and see for yourself.

Listen:

The Beat | Special Beat Service (1982)

(Click the record to listen on your platform of choice)

Album art courtesy of IRS Records

I’m in! How can I join?

Here ya go:

When: Sunday, August 24th: 4 PM Eastern/ 8 PM GMT

Where: Join Zoom Meeting

Thanks for being here (and there!),

Kevin—

A Good Thing Takes on…Godflesh

by KevinLeave a Comment on A Good Thing Takes on…Godflesh

The Best Record of 1989, Day 59: #27 Fine Young Cannibals, The Raw and the Cooked vs. #102 Godflesh, Streetcleaner

Good morning!

Today we’re taking a quick look at records from Fine Young Cannibals and Godflesh

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—

Fine Young Cannibals, The Raw and the Cooked

Going into this review, my biggest question was, “Is it any good?” I knew the ubiquitous “She Drives Me Crazy” and “Good Thing.” I also vaguely remembered “I’m Not Satisfied” and “Baby Don’t Look Back” and vaguely recalled liking them.

My biggest question afterward was, How do you classify this record? And why had I not bothered with it all these years? Okay, that’s two questions, but both fair ones. Honestly, I have zero idea how to classify this album. There’s ska, Motown-era influence, a Buzzcocks cover, and everything in between.

FWIW, that cover was featured in the movie Something Wild, and a few other tracks were featured in other films. Even the band name was taken from a movie title.

Fine Young Cannibals — which included former members of The Beat, Andy Cox and David Steele, and vocalist Roland Gift — weren’t exactly straight out of central casting when it came to hit makers, but here we are. Steele and Cox had already cracked the chart code before with tracks like “Mirror in the Bathroom” and “Save It for Later,” but it turns out what would be their biggest hit almost didn’t happen.

Producer David Z explains:

The Cannibals—Roland, Andy and David—sent me songs through email for a few weeks and we decided on a list.”

One song was titled “She’s My Baby,” which David Z loved. The band, however, appeared less than enthused: “When they said it was rubbish and they wanted to throw it away, I told them I wouldn’t want to work with them unless we did that song,” Z said, “They reworked the lyrics and came up with ‘She Drives Me Crazy.’ Everyone I know could feel that way—and has.”

Lucky for us, it was released. With that sharp snare hit, a stripped-down arrangement, and Roland Gift’s now-iconic falsetto, we got the sort of right song at the right time that comes along about every 10 years or so.

The much more straightforward “Don’t Look Back” peaked at #11, while the fifth and final single, “I’m Not Satisfied,” only reached an anemic #90. Shame, really, as it deserves to be heard by a much wider audience.

This would (more or less) mark the end of the line for the band; they split up a few years later before recording a follow-up LP. But before that, we got the Raw and the Cooked- a record that is, well, a good thing (sorrynotsorry)

Don’t be me: If you haven’t checked out The Raw and the Cooked yet, do yourself a favor and give it a listen. Albums that nail that perfect mix of art and pop, old school and new school, don’t come around too often.

Godflesh, Streetcleaner

Oh, hey, sludgy riffs and ghoulish vocals labeled as “post metal.” Fun! Man, what a letdown after listening to FYC. I hope whoever nominated this got the help they needed.

Okay, that’s maybe a bit unfair. I can appreciate the way they blend metal and industrial genres here, and they’ve done well to paint a dystopian hellscape, but this feels like something a SWAT team would play on a loop to coax a suspect out of a house. Hard pass.

My vote: Ever fallen in love with a record you hadn’t heard in a while? You can never have too much of a good thing. I’m not gonna look back when I vote for FYC.

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 30

by KevinLeave a Comment on The Best Record of 1989: Day 30

#53 Operation Ivy, Energy vs #76 Ciccone Youth, The Whitey Album

Good morning!

Today we’re taking a look at records from an antecedent of Rancid, and a Sonic Youth side project.

Note: As many of you know, I recently wrote about a Best Record of 1989 challenge and noted that I’d be occasionally writing 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—

The strip mall Babylon I grew up in was punctuated with subdivisions that only kinda connected with one another. You could get there, but winding up on a new street sometimes felt like you needed a passport. Meeting in shared spaces like the Chevron parking lot or the local elementary school was much easier. The latter had a huge covered area–this was Oregon, after all– that lent itself nicely to skating during the off hours. Invariably, someone would bring a boombox and something like Operation Ivy would soundtrack the session. My block had a taste for bands like Jawbreaker, while the next subdivision over fell in love with 3rd wave ska like this.

Like many bands of the era, Operation Ivy burned fast and burned quickly, which often makes me wonder if that brevity leads to more of a legacy than might otherwise be warranted, similar to the way Joy Division is lionized. Like our friends from Manchester, Op Ivy was only around for a couple of years and really only released one full-length record (there was also Hectic, an EP, but I digress).

Similarly, some of the band members went on to relative fame after the dissolution of this one, with Tim “Lint” Armstrong and Matt Freeman moving on to help form Rancid.

The record is loud, fast, and brash. Think of Ranicd before; some of the edges were sanded off. They were a little bit messy and had minimal low-end. Jesse Michael’s voice sounds like he’s living on a steady diet of Marlboros and fast livin’. This was just how we liked it. The lyrics covered the usual bases (love, F authority, etc.), all with a beat going 100 mph. Think a sped-up version of the Clash.

It’s also worth noting that this record hit in the very narrow sweetspot before purity tests and gatekeepers took back over; no one bothered to tell them that they weren’t playing ska “correctly,’ or that it wasn’t fast (or angry) enough to be punk. They did their own thing, fused the two, and let’er rip. If you’re new to this record, start with “Soundsystem” and go from there. You might also recognize opener “Knowledge” from Green Day’s cover of it.

Energy is a solid record that lends (lends?) itself well to those sorts of drives that go nowhere on purpose or an afternoon skating session on an unseasonably sunny fall Saturday. It’s a landmark album of third-wave ska/ska-punk that inspired many bands that went on to far greater levels of fame than they enjoyed.

Operation Ivy walked so Green Day could run.

There’s no shortage of bands that are essentially Sonic Youth tribute bands. Nothing wrong with that, but I’m always more interested in what Sonic Youth were into. What ingredients went into the sound that ultimately influenced so many?

I don’t have a full list, but at one point, they were into Madonna enough to record a few tracks for a tribute record that never came to pass. But the band wasn’t about to leave those on the shelf. The result? One of the oddest side projects of the day: The Whitey Album by Ciccone Youth (Madge’s legal last name).

I vaguely recall reading that SY had all their gear stolen at one point. That’s bad enough on its own, but I knew from seeing them that they used some instruments for a specific song or even a specific effect. Again, going off of memory, but I could swear some were described as things like “the one used with a screwdriver.” (EDIT: I found a list and a plea from Lee Ranaldo for its safe return.)

I mention this because, at first, The Whitey Album feels like the sorts of odds and ends that can only come from noodling around in the studio and testing things out. The first couple of tracks are full of odd snippets and sounds that never quite arrive at being fully formed. There’s even a full minute of silence (the aptly titled “Silence”).

“G-Force” is one of those tracks where Kim Gordon does something resembling a rant or poetry slam. Dealer’s choice. In other words, something only Sonic Youth can get away with. That’s all good, but like on their other records, it can feel like a toll you need to pay to gain access to the good stuff.

And The Whitey Album does have a couple of those nuggets. Their version of “Burnin’ Up” is a slowed-down, louche version. It’s great. It’s also something only this band could pull off. “Into the Groovey” is about as faithful a rendition as you’re gonna get here, mainly due to sampling the original. “Tuff Titty Rap” is a nod to old school hip hop and feels like the band had two too many margaritas before trying to karaoke something off of LL Cool J’s Walking With a Panther, getting just far enough in before the Dj cut the mic.

“Too Cool Rock Chicks Listening to Neu” might be the most niche title we see in the first round, and I’m here for it (not so much the song, though).

So! What to make of all this, exactly? In some ways, The Whitey Album feels like an inside like four friends are all in on, and in others like something best left in the studio. It’s too earnest to be a joke album, yet too joke-y to be regarded as a regular album. Is it satire? Is it art? You can never be sure with Sonic Youth, but you’re better off for having experienced it. And maybe that’s the point.

Bottom Line: If The Whitey Album was labeled as a Sonic Youth Record, I think it would sail through primarily on name recgontion. Similarly, if the name Operation Ivy had been replaced with the band’s logo, it would’ve punched above its weight. I love both these bands, and nostalgia admittedly plays into that. I am lucky to have both seen SY play and been turned onto Operation Ivy by the older kids in my circle.

That said, Energy holds up way better than The Whitey Album. Sure, once you’ve heard one song, you’ve (more or less) heard them all, but I happen to like those songs, and I think that outweighs The Whitey Album’s coming across more as an experiment than anything else.

My vote: My bracket pick and vote will be going to Operation Ivy.

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—