caroline ‘caroline 2’ (5/5)
‘caroline 2’ by caroline is a modern masterpiece of artistic engineering and creative genius. The songwriting and brilliant sound design is something I haven’t heard in twenty years since Akron/family’s self-titled and The Most Serene Republic’s ‘Underwater Cinematographer’ in 2005. The opener, “Total euphoria” erupts with an off beat performance that brings the audience to a stand still while making them feel like they’re on a journey through time. Caroline Polachek was tapped to sing on the explorative “Tell me I never knew that” which features her beautiful vocals patterned with the production and plays like a duet with voices floating above the perfectly executed guitar. “U R UR ONLY ACHING” is emotionally exhausted but brings the listener to their knees. The use of auto-tune during the most memorable segment is the best use of auto-tune I may have ever heard. “Coldplay cover” feels more like an Akron/family cover with its organic sounding music and it honestly feels less like pop and more like avant-garde at times. “Two riders down” may be one of the best songs on this album, but it’s also one of the best songs of the year on any album. The almost jazz styled percussion elements and sporadic arrangements add to the luster of the exquisite performance. This brilliant album justifies the use of improvisation and heavily manipulated production elements, and awakes in us a sense of longing for more musical banter that makes us feel supremely alive.
Sun Kil Moon ‘All the Artists’ (5/5)
Opening ‘All the Artists’ with “The Great Meadow” is perfectly positioned within the nine tracks that make up Sun Kil Moon’s expertly constructed album. The emotional depth within the opener is notably noticed by the lyrical value speaking about going to the pier and then ultimately no longer being able to visit the pier. Mark Kozelek then goes on to speak sing about his experience with a Starbucks barista who he forms a bond with and how he is enthralled by her name, Persesphone. The almost title track “All the Artists Live in L.A.” is one of the standouts here, and we gave it the highest ranking of best song of 2024 when it was released as a single. It’s a great example of how San Francisco has changed over time and he how spends less time there now, and more time in Los Angeles. “Friendly Fire” speaks on how Mark is a provider, caregiver, a fisherman, a swimmer and more than just a guitarist and a singer. It also touches on his family history and how every time he plays live he dedicates a song for his mother. The final number on this impeccable album is “Writers Write” which has grown on me more than any other song included here, and the reason is because it features a beautiful synth and simple beat that adds so much depth to the production. It’s a perfect end that explains some of the recording process and how he is “making music with friends up in the mountains” and then shifts gears to making music with his “L.A. friend Dave” who plays the piano on the songs within ‘All the Artists’.
Mogwai ‘The Bad Fire’ (5/5)
Mogwai opens ‘The Bad Fire’, which is a reference to what Scots refer to hell as, with “God Gets You Back”, a smoldering electro-rock piece that aims for the jugular. The production is immaculate and the vocals tell us “don’t breathe rare air”. The third track on ‘The Big Fire’ is titled “What Kind of Mix Is This?” which is a play on the mixing engineer, where the synths are loud and punchy and the percussion drives the track forward with screeching post-rock guitars being a main catalyst to the soundscape. The most comically titled song of 2025 so far, “Pale Vegan Hip Pain” is a reference to something the guitarist and main songwriter, Stuart’s wife had said to him regarding her doctor visit. The track is absolutely sublime and easily my favorite track of the year so far. The emotionally clarity this song allows is unmatched in the music of today. Another instant classic Mogwai title is “If You Find This World Bad, You Should See Some of the Others” which is also classic Mogwai in the style portrayed here, loud and quiet dynamics with beautiful introductory guitars that evoke a sense of purpose, and once the drums come in, it sounds like it would work well within the ‘The Hawk Is Howling’ arc. “18 Volcanoes” is the best track that includes vocals, as they don’t disrupt the music and really add to the quality of sound, and this up there with “Cody” is one of Stuart’s stronger vocal moments in his career. Ending ‘The Big Fire’ with “Fact Boy” just makes so much sense, since this is a clear example of what makes Mogwai great, a historic instrumental that can be played on the big screen or on repeat in your headphones, and with either, it is healing your mind, body and spirit, especially when the arrangements take over around the three and a half minute mark.
Kieran Hebden & William Tyler ’41 Longfield Street Late ’80s’ (4.5/5)
Kieran Hebden (of Four Tet fame) and William Tyler’s ‘41 Longfield Street Late ‘80s’ opens with the beautifully restrained cover “If I Had a Boat’ which plays the heartstrings and memorializes the beauty of Lyle Lovett’s original in a wonderful fashion. ‘Spider Ballad’ is an electronic slow burner that utilizes arpeggios and a quiet buildup to create a soothing atmosphere. “When It Rains” is one of the more intimately beautiful tracks as it compels the listener to look inward. The slow paced strums create a cloud of disillusionment and break the mundane feeling of loneliness. The track “Loretta Guides My Hands Through the Radio” sounds like a patchwork of found sound and is an avant-garde break from the songwriting. The ender “Secret City” is one of the best songs of the year by any standard with its whimsical tone and perfectly executed sound. The emotion that pours out of this track begs the listener to repeat over and over and over again.
Arcade Fire ‘Pink Elephant’ (4.5/5)
Arcade Fire’s seventh studio album, ‘Pink Elephant’ comes after the underrated ‘WE’ and applies pressure on the band to “reinvent” themselves. The title track is expressive and grand, it allows the listener to feel as if they’re experiencing Arcade Fire for the first time since their galactic heyday of their first 4 studio albums. “Circle of Trust” has quirky production techniques and a simple but effective beat that barrel rolls the track into creative lyrics like “I’m baptized in your electric light” and “the Archangel Michael’s blowing up your phone”. “Alien Nation” features nearly static vocals from Win and a jolting sound that feels like Suburbs-era grandiose. The instrumental opener and interludes set the tone for an almost theatrical version of the band, like they’ve done the soundtrack for another film, much like ‘Her’. The relaxed opening of “Ride or Die” is intimate and pure and and it glides into the “I could take you anywhere…” section which makes it feels authentic. “I Love Her Shawdow” is one of the standout tracks here, with the pulsating synth/beat combo and Win’s near perfect vocal performance. The constant snare pushes the song forward, wherein the chorus envelops us all with their bold “I’m breaking into Heaven tonight” statement. The way that “Stuck in my Head” feels like it comes out of nowhere to close out this record is astonishing, really. The 7-plus minute epic is full of swearing, crying, complaining, and a vital realization that keeping things a mess is bad for your mental health. The sheer beauty of expression this album holds is a welcome way to let us know that Arcade Fire are still on fire.
Army of Sound 