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newmusickarl · 1 year

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5-9’s Album of the Month Podcast

Reminder that you can head over to Spotify to listen to the January 2023 episode of our Album of the Month podcast, covering Billy Nomates's CACTI, Circa Waves's Never Going Under, The Murder Capital's Gigi's Recovery, Patchnotes's Endless Surrender and We Are Scientists's Lobes.

Take a listen below and be sure to follow 5-9 Blog on Instagram and Twitter for more news and polls relating to the podcast, along with other great content like film reviews, sports articles and more.

Listen to the January 2023 episode here

Album & EP Recommendations

This Is Why by Paramore

Back in the mid-00s when I was 15/16 years old, Bloc Party’s Silent Alarm changed my life.

Sonically eclectic whilst lyrically urgent, it seemed to encapsulate the teenage experience at that time like no other record could. From the politically charged Helicopter, the glistening, post-festival blues of So Here We Are and quintessential indie love song This Modern Love, it firmly remains my favourite debut album of all time. So, when immensely popular American rockers Paramore announced that this record and Bloc Party were the primary influence for their sixth studio album, This Is Why, my interest was naturally piqued.

Although my knowledge of Paramore’s back catalogue is limited, even on the face of their career I can see that the trio aren’t afraid of reinventing themselves. From their early emo and pop punk roots to the 80s influenced synth-pop of their impressive last outing After Laughter, few mainstream acts have evolved their sound through the years quite like Paramore. However, with the primary inspiration of Bloc Party along with other great British bands like Foals, Wolf Alice and Arctic Monkeys namechecked in recent interviews, Paramore have undergone arguably their biggest reinvention yet. Where Silent Alarm offered a vital soundtrack for the post-9/11 youth, Paramore attempt to do the same for an apathetic generation of kids dealing with COVID lockdowns and ever-growing social and political divide on This Is Why. And whilst it isn’t quite Silent Alarm, this is unquestionably a brilliant indie rock record.

As they put in their pre-release statement, lyrically the album delves into feelings of agoraphobia, disassociation, moral superiority and righteousness, whilst sonically the band’s influences come through loud and clear too. Taylor York’s guitar work is arguably the star of the show, with the jittery riffs littered across the album’s concise 10 tracks reminiscent of that mid-00s Brit-rock scene in which I grew up. That highlights arguably the most impressive element of this record too, the fact it manages to strike the perfect balance between feeling both current and nostalgic at the same time.

Into the album itself then and the opening title track remains one of my favourite tracks of the last twelve months. With all the catchy, stuttering chords of prime Foals, along with some ever-impressive vocal acrobatics from enigmatic frontwoman Hayley Williams, the mid-song breakdown that ends with Williams’ cries of “I’m floating like a cannonball” is so gloriously cathartic, you can’t help but get won over.

Second single The News is similarly great, with the Bloc Party inspiration coming through strong on this raucous anthem that looks with despair at the ongoing Ukraine War. The lyrics on the chorus are particularly hard-hitting, as Williams passionately roars “Every second our collective heart breaks, all together every single head shakes, shut your eyes but it won’t go away.” Running Out Of Time then completes a blistering opening trio, where Williams battles with self-preservation and disorganisation as she sings “Intentions only get you so far, what if I’m just a selfish prick? No regard” over some of the coolest guitar lines of the whole record.

However, there are times where Paramore can wear their 00s indie influences slightly too much on their sleeve. The band stated that C’est Comme Ça was inspired by Yard Act due to its spoken word verses, but my biggest takeaway was how the opening riff is an accidental rip-off of Hard Fi’s breakout single, Hard To Beat (if you don’t believe me, listen to the opening of both tracks for yourself). The song thankfully does recover after that confusing first 15 seconds though, mainly thanks to more outstanding guitar patterns from Taylor York.

Beyond the opening gambit of singles, I’m pleased to say there’s plenty more great moments to be found here. Big Man, Little Dignity is another strong favourite, which sees the trio take shots at powerful men not held to account for their deplorable actions (“smooth operator in a shit-stained suit”). Boasting a flurry of flutes, some moody Joy Division-esque guitars and Williams’ beautiful cooing vocals, it ends up leaving a huge impression. Liar, arguably the album’s most subdued moment, is similarly awe-inspiring too thanks to some twinkly guitars and Williams’ graceful falsetto vocals. Thick Skull is then the emphatic finale the album deserves, with a big solo towards the back end that draws shades to early Arctic Monkeys, whilst Williams screams “Come on out with your hands up, I’m coming out with my hands up.”

As you can probably tell I’m a big fan of this record and from start to finish this is a simply thrilling listen. At a concise 36 minutes there’s not a second spared, as the band channel their message through the sounds from indie rock’s past, breathing fresh new life into the scene and helping it to resonate with a newer, younger mainstream audience. So, if you are sat there wondering why Paramore are one of the biggest rock bands in the world right now – This Is Why.

Listen here

Desire, I Want To Turn Into You by Caroline Polachek

I said in last week’s roundup that Raye’s debut album 21st Century Blues had set the standard for pop records to follow for the rest of the year, but it seems that American alt-pop artist Caroline Polachek didn’t get that memo. Less than a week later, Caroline has delivered a masterclass in experimental and art-driven pop music, that you’ll just want to lose yourself in again and again.

Originally slated for a Friday release, Caroline instead gifted the album a few days early by releasing on Valentine’s Day, which only feels fitting given this album’s passionate mood. Sonically it’s a mesmerising listen, with Caroline throwing the kitchen sink at this one by incorporating bagpipes (Blood and Butter), Spanish Flamenco guitars (Sunset) and even a children’s choir (Billions). There’s also a blockbuster collaboration with both Grimes and Dido (Fly to You), two artists whose influence you can hear frequently across many of the album’s other tracks as well.

Although the individual moments themselves are full of vitality, the beauty of this album lies in the sonic journey on which it takes you. From the Tarzan-like cries of introductory track Welcome To My Island, the Charli XCX pop stylings of Bunny Is A Rider, the Eurovision glow of I Believe to the folk-dance of Smoke, Caroline delivers a vibrant explosion of sound at every turn. That said it’s arguably the album’s most understated and atmospheric moment that ends up striking the biggest chord, as Hopedrunk Everasking beautifully shimmers through the speakers thanks to Caroline’s utterly angelic vocal harmonies.

Overall, this really is an utterly blissful listen from beginning to end, with Caroline building in every single way on her previous solo outing, Pang (also great). Colourful, uplifting and filled with endlessly fascinating sonic exploration, this is an album that I suspect will only sound even better come summertime.

Listen here

This Stupid World by Yo La Tengo

“Now almost forty years into their musical journey and on their sixteenth proper studio album, the trio of Ira Kaplin, Georgia Hubley, and James McNew sound reinvigorated on their latest for Matador. Longtime fans of Yo La Tengo can approach This Stupid World with an eased mind – with this gorgeous set of nine intricate yarns, there’s no reinventing the wheel. Yet, it is easily their best since 2013’s Fade and will go down as one of their finest albums.

“Fallout” is classic Yo La Tengo and easily one of their best singles, but this entire record is a vintage outing from the indie vets who continually remind us there are other greats in New Jersey besides Bruce Springsteen. We are blessed that this band doesn’t share an interest in packing it up at forty. Instead, with This Stupid World, Yo La Tengo shows that age doesn’t lead to less shredding, and there is certainly no room for a decline when you’re one of the best bands to ever do this indie thing.”

Read Kiley Larsen’s full review for HeadStuff here

Listen here

Moments of Clarity by Narrow Head

“It’s the third record for the Houston-based shoegaze/alternative/post-hardcore/enough-with-genre-labels outfit and the first in quite a while to really slap me with some damn good chugging detuned guitars.

Moments of Clarity comes from a time of significant loss in Duarte’s life, and Narrow Head is determined to shred its way out of it. Their gift lies in that elusive space where much of Moments of Clarity is downright heavy. Still, the pop-sense melodies on early songs like the title track and “Sunday” would slot in comfortably on any nineties alternative station. This is partially thanks to co-producer Sonny DiPerri, who has worked as a producer and engineer with the likes of Nine Inch Nails, DIIV, and My Blood Valentine, who Duarte says pushed them past the heaviness into writing legit pop songs. DiPerri’s effort also pays off sonically, as this is the lushest record from Narrow Head so far.”

Read Kiley Larsen’s full review here

Listen here

Also worth checking out: Truth Decay by You Me At Six

Tracks of the Week

A&W by Lana Del Rey

The release of Lana’s ninth studio album at the end of March is fast approaching and this week we finally got our second taste of (takes deep breath) Did you know that there’s a tunnel under Ocean Blvd. Thankfully she is countering the annoying, parody-like title of her new record with this seven-minute epic, which sees Lana detail “the experience of being an American Whore.” It’s vintage Lana with the first half stripped back and centred around her gorgeous, hushed vocals, before it steadily morphs into a rumbling, trap style beat as she sarcastically sings “Your Mom called, I told her, you’re fucking up big time.”

With four albums in four years I had been feeling that Lana was somewhat oversaturating her catalogue, however if it gifts us gems like this then maybe I’ll allow it. Let’s wait and see though if she can keep the standard up for another full length.

Listen here

Lost by Linkin Park

It makes me feel incredibly old to see that Linkin Park’s Meteora, a defining record for me during my early teens, is turning 20 years old this year. To celebrate, the band are re-releasing the record with a mountain of unreleased demos, live recordings and never-before-heard tracks from the album’s recording sessions. The first of these to be unveiled is Lost, a track you can’t quite believe didn’t make it on to the original album but arguably hits harder now 20 years later.

Amazingly sounding fresh probably due to the recent nu-metal revival, you can’t help but choke up hearing the late Chester Bennington anguishly sing “I tried to keep this pain inside, but I will never be alright.” Truly heartbreaking but great that the band have enabled this song and Chester’s typically moving vocal performance to see the light of day.

Listen here

Ghosts Again by Depeche Mode

A band 43 years into their career at this point but showing no signs of slowing down, electronic pioneers Depeche Mode have served up the first taste of their forthcoming fifteenth studio album, Memento Mori. Their first new material since the unexpected passing of founding member Andy Fletcher, it’s a vibrant, synth-soaked anthem led by Dave Gahan’s signature haunting vocals.

Listen here

Yr Made of Gold by Fake Turins

It’s a real shame that North London's premier disco-psych 11-piece Fake Turins will be officially calling it a day on the 8th June, a date which is set to host their final farewell show at London’s Village Underground. Thankfully they are giving fans one final parting gift, in the form of their Inheritance EP, which is due out a month earlier on the 9th May. The first taste of this EP is new single Yr Made of Gold, which is being perfectly described as “a suspenseful yet sensuous funk-noir” and comes accompanied by a quite mesmerising AI-animated video too.

Check out the incredible visualiser here

I’m Sorry (Acoustic) by Josef Salvat

And finally this week, synth-pop sensation Josef Salvat has also reinterpreted one of the standout singles of his brilliant third album, 2022’s Islands. Taking the infectious, upbeat melody and transforming it into a gorgeous piano ballad, it’s a worthwhile reimagining of a great song.

Listen here

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2023 tracks through my Best of 2023 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.

Add the playlist to your library here

#new music #best new music #album recommendation #song recommendation #paramore #this is why #hayley williams #caroline polachek #lana del rey #yo la tengo #linkin park #depeche mode #narrow head #Youtube

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