As autumn begins, the music scene is vibrant with new releases across indie, alternative, and college rock genres. This week brings four notable albums receiving high praise, alongside an intriguing debut from a Scottish duo and a unique sound effects album. The landscape of music continues to evolve, offering diverse sounds for listeners.
Key Takeaways
- Four new albums received 'Album of the Week' status.
- Cate Le Bon delivers a poignant breakup record with 'Michelangelo Dying'.
- Sloan releases their 14th album, 'Based on the Best Seller', showcasing consistent power-pop.
- Stealing Sheep's 'GLO (Girl Life Online)' explores dance music and online identity.
- Automatic's 'Is It Now?' offers a funkier, more human post-punk sound.
- Fred Armisen releases a unique 100-track sound effects album.
- Fine Young Cannibals' debut album is highlighted as an Indie Basement Classic.
Cate Le Bon Explores Heartache on 'Michelangelo Dying'
Welsh artist Cate Le Bon presents her seventh album, Michelangelo Dying, a deeply personal exploration of heartbreak. Released via Mexican Summer, the record combines gentle beauty with raw emotion. Le Bon's distinct melancholy, a hallmark of her previous work, is prominent here.
The album's lyrics are direct, moving away from her often abstract style. One line, "This is how we fall apart / I’m on the ropes / You’re on the wave / I’d sing love’s story / But nothing’s gonna save it," clearly illustrates the album's theme. The music refines the sound she developed with her 2019 album, Reward, drawing comparisons to Bowie's Berlin trilogy and Cocteau Twins' mid-1980s period.
"I didn’t want to discuss them but they wanted to be discussed, so I surrendered to it."
Cate Le Bon on the album's themes
Guitars and saxophone are heavily processed, alongside deep bass and glowing synthesizers. This creates an immersive soundscape for the album's central theme of "all-consuming heartache." Euan Hinshelwood's saxophone work complements Le Bon's vocals, offering an emotive yet refined contribution. The album benefits from high-volume listening, allowing intricate details like the layered sounds of "Mother of Riches" and the duet with John Cale on "Ride" to emerge. Despite its somber themes, Michelangelo Dying is considered Le Bon's most fully realized and compelling work to date.
Album Fact
Michelangelo Dying is Cate Le Bon's seventh studio album.
Sloan Delivers Consistent Power-Pop with 'Based on the Best Seller'
Canadian rock band Sloan has released their 14th album, Based on the Best Seller, through Murderrecords and Yep Roc. The album continues their tradition of expertly crafted power-pop, a style they have maintained for over 30 years. The band's democratic songwriting approach, where each of the four members contributes and sings their own songs, is key to their longevity.
Chris Murphy, the band's bassist, explained their process: "We’re like city-states that coexist. We share space on the albums, but not necessarily in the songs themselves." This method, combined with an equal split of songwriting royalties, has allowed Sloan to remain a cohesive unit. Fans can expect their signature blend of 1960s and 1970s influences, with each member bringing a distinct voice.
- Patrick Pentland: Known for hard rock guitar riffs.
- Chris Murphy: Channels Paul McCartney with witty lyrics.
- Jay Ferguson: Adds baroque pop elements.
- Andrew Scott: Provides unexpected musical twists.
The album also features the presence of longtime touring keyboardist Gregory McDonald. His contributions are evident on Murphy's piano-led tracks and on "Fortune Teller," which includes Beach Boys-esque organ sounds reminiscent of "Good Vibrations." While Sloan albums are consistently good, Based on the Best Seller stands out as a particularly strong entry.
Band History
Sloan formed in Halifax, Nova Scotia, in 1991. They are known for their consistent output and unique songwriting structure.
Pentland's track "Here We Go Again" is highlighted as one of his best in years. Ferguson contributes three strong songs, including "Capitol Cool," which many consider the most representative Sloan track on the album. Scott, with two contributions, offers punchy and attitude-filled songs like "Baxter" and "No Damn Fears." This album demonstrates Sloan's ability to consistently exceed expectations.
Stealing Sheep Explores Online Identity with 'GLO (Girl Life Online)'
Liverpool trio Stealing Sheep has released their first album in six years, GLO (Girl Life Online), on their own G-IRL Records. This album marks a significant shift towards dance music, blending various club subgenres with a pop sensibility. The band has evolved considerably since their 2012 debut, Into the Diamond Sun, which featured proggy folk-pop, moving towards a sound akin to Hot Chip or Metronomy by 2015.
GLO is described as a concept album, focusing on "the girl gaze, identity performance, and navigating culture through a female lens." The band states it is about "reclaiming our voice, exploring millennial girlhood in today’s toxic online world, and searching for something utopian and real beyond the screen." Musically, the album draws from techno, dubstep, two-step, and Big Beat, while maintaining strong pop song structures.
The interplay between members Becky Hawley, Emily Lansley, and Lucy Mercer remains a core element of their sound. They share vocal duties, harmonize, and weave their voices into a rich sonic tapestry. The album is seen as their strongest work since Not Real (2015), offering a collection of impactful tracks with intelligent concepts behind each beat.
Automatic's 'Is It Now?' Delivers a Funkier Post-Punk Sound
Los Angeles post-punk trio Automatic presents their third album, Is It Now?, released by Stones Throw. This record introduces a warmer, more rhythmic element to their signature coldwave sound. Unlike previous albums, much of Is It Now? was recorded live to analog tape, with Florence + The Machine drummer Loren Humphrey serving as producer and providing additional percussion.
The collaboration with Humphrey, alongside drummer Lola Dompe and various vintage rhythm machines, results in funkier, more organic grooves. This approach expands Automatic's sound significantly. The album opens with bongos and dubby bass on "Black Box," creating an inviting, danceable atmosphere that blends elements of The Slits and Gary Numan. Vocalist Izzy Glaudini emphasizes the album's focus on movement: "You have to get people moving. It’s harder and harder to enjoy a sense of escapism; it’s tinged with delusion. Action feels more rewarding."
Production Notes
Is It Now? was recorded mostly live to analog tape, a departure from their previous work.
Other notable tracks include "mq5," which nods to Delta 5 with echoey tom fills and jazzy flutes, contrasting with the band's characteristic arctic synth blasts. "Mercury" features breakbeat rhythms and "Ironside" synth sirens, while the Tubeway Army-esque "Country Song" embraces themes of nature. Lyrically, Automatic seeks a more human connection, advocating for disconnecting from technology and urban life. Lola Dompe explains, "I feel like this album displays all the different ways you can react to the current state of the world." The album concludes with the urgent track "Terminal (طرفي)," featuring artist Diana Quandour singing in Arabic, adding another layer of depth. Is It Now? represents a significant evolution for Automatic.
New Music and Classic Indie Highlights
Quad90: An Accomplished Debut
Scottish duo Quad90, consisting of Amelia Lironi and Naomi Mackay, releases their self-titled debut album on Last Night in Glasgow. Their sound blends dancey post-punk, no wave, and leftfield disco. The duo met at Glasgow’s Riverside Music College, sharing a passion for disco and post-punk. Their 2023 debut single, "Le Blank," garnered attention on BBC 6 Music and Radio Scotland. This track, characterized by its lithe, funky groove and ethereal harmonies, is central to their sound, which echoes Chic, The Slits, and ESG.
The album expands into various corners of dance-oriented genres, incorporating pop and rock. Highlights include a cover of James Chance’s "Contort Yourself," the catchy "Too Much Too Soon," the country/R&B-tinged "Sentimental Sunday," and "Boomerang." Tracks like "Unequal Division" and "Overcome" show a Blondie influence. The consistent echoey production, solid grooves, and tight musicianship contribute to a thrilling and cohesive debut.
Fred Armisen's '100 Sound Effects'
Comedian and musician Fred Armisen has released a unique album, 100 Sound Effects, through Drag City. Armisen, known for blurring the lines between music and comedy, conceived the album while thinking about haunted house sound effects. He originally sought to record with Steve Albini, but Albini suggested engineer Darrell Thorp, who worked with Dave Grohl. The album is dedicated to Albini.
Approximately one-third of the album's content relates to music and touring, featuring absurd yet specific sounds like "Music Venue Employee Kicking Everyone Out While Throwing Away Bottles" and "Sparsely Attended Show Encore with Someone Shouting ‘Where’s Jim?’" The cover art pays tribute to The Jam. While some traditional haunted house effects are present, they come with a distinct Fred Armisen twist, such as "Haunted House Ghost Going Upstairs but the Door is Locked." The album also features contributions from Bill Hader, Tim Heidecker, and Mary Lynn Rajskub. 100 Sound Effects caters to musicians but will appeal to anyone who appreciates Armisen’s distinct humor.
Indie Basement Classic: Fine Young Cannibals' Debut Album
The 1985 self-titled debut album from Fine Young Cannibals is celebrated as this week's Indie Basement Classic. Formed by Andy Cox and David Steele from the disbanded ska-pop group The Beat, the duo sought a new vocalist, eventually recruiting Roland Gift, who had previously toured with The Beat in his band Akrylykz.
Cox’s rhythmic guitar and Steele’s disco-influenced basslines carried over from The Beat, but Fine Young Cannibals aimed for a more chart-friendly, soulful R&B sound. The album's debut single, "Johnny Come Home," was a powerful introduction, showcasing the band's energy and Gift's distinctive voice. The album balances dance tracks like "Don’t Ask Me to Choose" and "Move to Work" with slower, romantic numbers such as "Funny How Love Is" and "Couldn’t Care More." A standout track is their cover of Elvis Presley’s "Suspicious Minds," featuring backing vocals from Jimmy Somerville, making it one of the most unique Elvis remakes ever. Produced primarily by Cox and Steele, the album maintained a modern sound without falling into the overproduced trends of the late 1980s, which would later affect their second album, The Raw & The Cooked.
Cultural Impact
Fine Young Cannibals' debut album turns 40 this year, marking its lasting influence.