Feb 25 2022

Album Review: XTC – Drums & Wires (#MWE)

When I was in college radio, every on-air shift I had, I played “Making Plans For Nigel.” I played it so much, in fact, that other students started calling me the Nigel Guy, or kept asking me, what was the “Nigel song” I was always spinning? XTC’s lead single from their commercial breakthrough is, to my ears, a new wave masterpiece. The then-nascent gated reverb drum technique (from engineer Hugh Padgham and producer Steve Lillywhite) guides the listener through an odd tempo and a perspective of the titular Nigel’s parents, who are assuring themselves of his future with British Steel. Not only is the single a staple of the then-burgeoning new wave sound, it is an example of XTC’s catchy, but still quirky, evolution to more straightforward pop songcraft.

Building upon the success of the aimless energy of Go 2, the band hired more conventional guitarist Dave Gregory to replace keyboardist Barry Andrews who had departed after an American tour. After the well-received, less angular one-off single “Life Begins At the Hop,” XTC recorded and produced Drums & Wires in just under a month, making a strategic move for more commercial success while staying in the lane of what the group did best.

The oddness is still there, as on the jittery, yelping, Devo-esque “Helicopter,” but the sound is grounded a bit by deftly structured art-rock tracks like “Day In Day Out” and the skank-worthy bounce of “When You’re Near Me I Have Difficulty.” The rivalry of Andy Partridge and Colin Moulding provides a necessary tension and anxiety to the band’s delivery, and only serves to strengthen the songwriting. The hook-filled “Real by Reel” deals with Partridge’s paranoia of government surveillance, while polyrhythmic transitions keep Moulding’s “That Is the Way” unhinged without going off the rails. Things perk up for the punky “Outside World” before the pleasantly menacing “Scissor Man.” Album finale “Complicated Game” tackles Partridge’s existential malaise with a buzzing ambience provided by Moulding (and an actual electric razor).

With Drums & Wires, XTC aimed for loftier goals and a more structured approach, and the success is evident with every diverse, interesting and fun track. While other new wave peers were coming across as maybe a bit more robotic, XTC stood out with their unabashed English sensibility and left-field pop charm.

Score: 9/10


Feb 24 2022

Album Review: Hüsker Dü – Zen Arcade (#MWE)

A hardcore rock opera? Sign me up. Midwest punks Hüsker Dü set the blueprint on fire with their second album in 1984 and decided instead to craft a concept album about a kid who leaves home, joins the military, dabbles in spirituality, finds love, gets his heart broken, and ultimately discovers the world kind of sucks (which, wow, that’s pretty much American Idiot in a nutshell).

The buzzsaw guitars and rapid-fire bass lines are all here; this is still most definitely a hardcore album from the 1980s. But underneath the surface is something more tuneful and melodic, and underneath that still is an earnest narrative about growing up and the realization of the harsh reality of life. Bob Mould and Grant Hart, not yet nemeses, brew up a fascinating pot of driving alt-rock noise, with dalliances in piano, psychedelia and even acoustic folk. These experiments were unheard of for a band of their ilk at the time, which is a testament to Zen Arcade’s influence on modern genre-hopping post-hardcore acts like Turnstile. The album sounds like it was quite a laborious undertaking, rendering the reality all the more impressive: the band recorded most songs in one take, and the whole thing was completed in about four days.

The band’s harmonies consistently hit the mark, as on acoustic rocker “Never Talking To You Again;” elsewhere, an in-reverse mindfuck interlude (“Dreams Reoccurring”) segues into the fast-tempo “Indecision Time.” We are treated to some far-out Bo Diddley action on “Hare Krishna,” while the band channels just a taste of 70s glam on “What’s Going On.”

The diversity of styles makes for an engaging listen, even if some moments fall flat, as on aggressive filler like “Pride” and “Masochism World” and the pointless psych excursion “The Tooth Fairy and the Princess.” However, critical moments in Zen Arcade’s timeline are also late-album highlights: the tuneful “Pink Turns To Blue” is the moment when our protagonist loses his romantic interest to a drug overdose, and the eternally prescient “Turn On the News” serves as a harrowing return to reality. By the time we realize the entire story was all a restless nightmare, the album closes with the 14-minute instrumental reprise “Reoccurring Dreams.”

Zen Arcade, originally a double album on vinyl, runs a little long, and some ideas don’t quite stick the landing, but the project is admirable because of its flaws, not in spite of them. Pardon the cliche, but the album is truly greater than the sum of its parts. Hüsker Dü swung for the fences and mostly hit it out of the park with this one, and the transformation was just beginning.

Score: 7/10


Feb 23 2022

Album Review: Pavement – Slanted & Enchanted (#MWE)

“Summer Babe (Winter Version)”, the first song on Slanted & Enchanted, the debut album from Pavement, is a perfect introduction to the slacker rock of the band, initially a three-piece that belted out a catchy concoction of nonchalant noise. At first, the distorted guitar and drum mix is reminiscent of Smashing Pumpkins, a similarity that is humorous in retrospect, given Pavement’s mini-feud that would ensue with the Pumpkins later in the decade. Once Stephen Malkmus’ shrugging, Lou Reed-like vocals come in, it’s clear, however, this is not a Billy Corgan creation.

However lethargic Malkmus sounds, his voice leads the way throughout Slanted & Enchanted, stopping his carefree drawl occasionally to deliver a half-hearted “lalala” as on “Trigger Cut/Wounded Kite at :17” or a brief howl, as on the refrain of “No Life Signed Her.” The lyrics are just as noncommittal, a half-winking, half-genuine abstract mess delivered sardonically, consistently.

It’s important, however, not to focus on the presentation too much, because it is all extremely beguiling. Pavement, over the course of the 90s, earned a reputation for making incredibly good music sound like easy work. But anyone listening will recognize the monster hooks hidden beneath low grade production and apathetic posturing. One clear example early on in the album’s runtime is the undeniable melodic hook on “In the Mouth a Desert.” “Zurick Is Stained,” later on, trades in the fuzz for twang and lackadaisical strumming; the sturdy song craft remains, however. Pavement even try their hand at a shout-along stomper via “Two States” before returning to the California indie haze in “Perfume-V.”

Even if the disorganized guitar riffs, haphazard drumming, or Malkmus’ vocals grate at the listener initially, underneath there is structure and warmth to be discovered, which gives the album a repeat-worthy, ageless glow. It has allowed Slanted & Enchanted to stand the test of time; it sounds remarkably modern, even thirty years later.

Score: 9/10


Feb 22 2022

Album Review: The Breeders – Last Splash (#MWE)

This has been well documented elsewhere, but the 1990s were a great time for music and music lovers, particularly for fans of rock music. Pockets were deep, and labels were flush with extra cash to spend on more experimental acts and new sounds. Back when “alternative” meant something a bit more substantial than a slightly off-kilter but still homogenous radio format, you never knew what you might hear (or see on 120 Minutes) next.

The Breeders, PIxies bassist Kim Deal’s side project turned main outfit, were a significant band in this era, and they did their part to keep heads turning with their landmark album Last Splash. Deal and her twin sister Kelley were not afraid to mix things up in the studio, incorporating unusual instrumentation and playing with genre. The result is 40 minutes of genuinely thrilling alt-rock.

“Cannonball,” of course is the biggest track here, a start-stop, quiet-loud wallop of distortion, gliding bass lines and infectious melody. It’s easily one of the greatest songs from its moment in rock music. After the sturdy violin accompaniment on “Invisible Man,” we are treated to a dabbling of surf music on “No Aloha,” followed by the psychedelic “Roi.” Each dalliance is supported by strong hooks, and no song is long enough to wear out its welcome. The band’s live energy shines through on instrumental interlude “Flipside”; elsewhere, “I Just Wanna Get Along” is spoken-word pop punk, while twangy Ed’s Redeeming Qualities cover “Drivin’ on 9” hints at the Deal twins childhood love of The Everly Brothers.

The dynamic twins Kim and Kelley Deal, who had been making music together since they were kids, brought all their chops they honed in Dayton, Ohio, to The Breeders, and the band is now known as one of the best of all time. And their classic album, Last Splash, is still a guitar-heavy wonder to behold.

Score: 8/10


Feb 21 2022

Album Review: Slipknot – Slipknot (#MWE)

In hindsight, Slipknot is the genre of metal taken to its most logical next step, but that still doesn’t explain its commercial success. The nine-piece (!) Iowa band, all donning homemade horror masks and wearing red jumpsuits, is the gimmicky excessive endpoint for a style of music that had reached its critical nadir with the rise of nu-metal in the late 1990s. The band looked absurd, a walking, screaming punchline for haters of the genre and where it was headed. But in the end, the truth will out, and the truth is that the music of Slipknot fucking rips. This is no more evident than on arguably their best album, the self-titled debut they dropped in 1999.

Even before Fred Durst was hopping around on plywood at Woodstock 99, nu-metal was already showing its hand: an over-reliance on a stale regurgitation of moods, aggro lyrics, and D-tuned riffs. Slipknot, by contrast, were a slight deviation; they were more interesting than the next Theory of a Deadman or whoever. It isn’t necessarily Corey Taylor’s vocal delivery (which is varied and impressive, but not really unique) or his nihilistic lyrical themes, but rather his backing band, who incorporate the then-trendy rap metal tropes and adorn them with industrial, thrash, and death metal sounds. Taylor at times will moan like Jonathan Davis; other times he’s rapping like Papa Roach’s Jacoby Shaddix, before screaming like Phil Anselmo. Meanwhile, the percussion pummels, the start-stop guitar riffs transfix, the turntable scratches jolt. There are traces of other bands before them, but Slipknot’s energy is trademarked.

This is probably why the album, and Slipknot’s sound in general, has aged so well; it was more aggressive, less downtrodden and more authentically angry. It perfectly encapsulates the feeling of a chaotic Slipknot live show (a testament to producer Ross Robinson’s skills). It broke with trends just enough to attain contemporary success and still sound fresh decades later. And it doesn’t hurt that the album inspired a new generation of rockers to build upon the sound, evolving subgenres like metalcore in the process.

Score: 8/10


Feb 21 2022

Random Song Reviews 2/15 – 2/21/2022

OLD MUSIC

Meat Loaf – I Would Do Anything For Love (But I Won’t Do That)

Before we begin, I must stress something important: if you’re only listening to the five-minute single version of this song, you are, yes, saving seven minutes of your life for other tasks, but doing yourself a disservice ultimately. The music of Meat Loaf and Jim Steinman, as any pop historian (or just general fan of auditory histrionics) will tell you, is meant to be heard in all its overproduced, overdone, ridiculously theatrical, self-indulgent glory.

When I say glory, I mean it. Glorious is the perfect word for the two brilliant albums from this duo, Bat Out of Hell and its sequel (the latter of which houses the song we are discussing). But “I Would Do…” is a special moment, even for these two. Throughout, Steinman’s unchained combination of background choral arrangements, banging piano, Richter Scale-challenging drums and screeching guitars collide with Marvin Lee Aday’s emotional, pleading voice, the aural equivalent of witnessing a volcano explode.

By the time the song retreats for a back-and-forth from Aday and Patti Russo, we get an answer to what “that” is that Meat Loaf won’t do. You see, he would do anything for love, but he won’t consider it all a fling or a brief interlude or eventually start screwing around. No, he won’t do that.

Lyrically, it’s simple and poignant, and could all be explained in under five minutes. But then, it wouldn’t be Meat Loaf and Jim Steinman. And whatever you would’ve done for those remaining seven minutes wouldn’t have been nearly as interesting.

Score: 8/10

Janet Jackson – Again

I recently wrote about the sexy vibe that was #1 janet. single “That’s The Way Love Goes,” a song that ushered in a more sensual, mature era for Janet Jackson. The other side of that coin is expressed on “Again,” a sappy ballad that was written for her film debut Poetic Justice and sung in character. “Again” is a longing love song for Tupac Shakur’s character in the movie Lucky, sung by Jackson’s character Justice, and it bores me to tears.

I’ve never seen Poetic Justice, the John Singleton-directed follow up to Boyz In The Hood. Hell, I’ve never seen Boyz In The Hood. These are bucket list movies for me, as we all are wont to play catch up to consume the content that was made before we were old enough to take it all in as it was happening. But even though I’ve never watched Jackson’s lead acting role, I’ve heard good things. The song she delivered for the movie, however, is pretty standard movie soundtrack fare, nothing like what we had come to expect and enjoy about the boundary-pushing pop of her other music. Maybe I’ve just been spoiled on Control and Rhythm Nation, but I don’t think a Janet Jackson song should sound like “A Whole New World.” It just feels very broad to me, and Janet has always had too much of a singular identity for that.

Score: 4/10

Mariah Carey – Hero

“Hero” was the second single from Mariah Carey’s smash, ballad-heavy album Music Box. This was deep in her Tommy Mottola era, when her husband / manager was calling the shots. The song was originally written (by Carey and Walter Afanasieff) for a soundtrack to a forgotten Dustin Hoffman film, and Gloria Estefan was supposed to sing it. Mottola, upon hearing the song, demanded Mariah sing it instead for her new album.

Despite Carey’s athletic vocal takes, “Hero” is a schmaltzy, weepy nothing of a song, and that’s mostly the fault of Afanasieff, whose generic piano and thunder-drum arrangement is as predictable and safe as a C-grade Hollywood film. Carey, for her part, gives just the right amount of emotional oomph to lyrics that signify pretty much anything you want them to, whether it be a tribute to fallen heroes, or a retiring professional athlete, or a charity event for a poverty-stricken community. The song works as a go-to for anything, really, because the lyrics are so vague, almost to the point of being comical. “Hero” is one of Carey’s best-known songs, and it’s a live staple, and there’s no doubt it’s brought comfort and inspiration to millions. And of course that was the whole point. It was designed for universal application. But the song’s fill-in-the-blank approach also renders it banal and boilerplate.

Score: 4/10

NEW MUSIC

Barrie – Jenny

Another pleasant advance single from the dream pop group, whose new album Barbara drops in March.

Score: 7/10

Sharon Van Etten – Porta

Sharon Van Etten’s yearning voice soars over a cascading wave of synths and rolling drums, drawing comparisons to The War On Drugs’ more thunderous work.

Score: 7/10

Helena Deland – Swimmer

Helena Deland delivers a tender ode to a vital memory over plaintive guitar strums. It’s pretty, but hardly as captivating as recent accolades would suggest.

Score: 6/10

Real Lies w/ Zoee – An Oral History Of My First Kiss

Wistful synth tones and steady electronic claps envelop a spoken-word monologue of memories and cooing female vocals. The song builds to something greater than the sum of its parts.

Score: 7/10

Excide – The Portrait, Now Perceived

American post-hardcore crew Excide have returned with a driving new single that takes a breath only for a shoegaze-like chorus before returning sharply to pummeling rhythms.

Score: 7/10

Fawn – Graffiti In the Hall

A random indie-pop artist with exactly one song on Spotify, but it’s a very pretty one, featuring a steady kick drum alongside guitar strums and a very catchy throbbing synth line.

Score: 7/10

Caroline Polachek – Billions

Polachek lets her voice take the lead on this new single, a bit more understated than the previous “Bunny Is A Rider” or her recent uptempo work with Charli XCX.

Score: 8/10

Pusha T – Diet Coke

Kanye produced this new jam from Pusha, proving even in 2022 (and amidst continuous drama on social media for the former) both of these veterans can still bring the goods.

Score: 8/10

fred again…. w/ India Jordan – Admit It (U Don’t Want 2)

Two of my favorite producers of the past few years collab on this new, nocturnal, pulsating track, perfect for the ride home after the sensory overload of the nightclub.

Score: 8/10

Willie Nelson – I’ll Love You Til the Day I Die

Preparing once again for a new album, the legendary octogenarian never stops working. He returns with a tender, if a bit bland, love song, incorporating his famous warbling croon.

Score: 6/10

Drug Church – Premium Offer

Drug Church hearken back to Bob Mould’s style of loud 90s post-punk on this recent leak, albeit with a Pixies-influenced haze blanketing everything.

Score: 6/10

Ibeyi – Sister 2 Sister

The French twin sisters score big points with this new track, a sort of mission statement for the duo and their music.

Score: 8/10

Rema – Calm Down

The Nigerian dancehall artist returns with another hook-filled leak from their upcoming Rave & Roses album.

Score: 8/10

Nicki Minaj & Lil Baby – Bussin

While a slight improvement from the clumsy “Do We Have a Problem?”, this new collab from Barbie and Baby is still missing the ingredients that make each of them so captivating separately.

Score: 5/10

Orville Peck – Cmon Baby Cry

The finest of a batch of new songs from the forthcoming Bronco, “Cmon Baby Cry” has the boot-shufflin’, singing-to-the-heavens bliss we’ve come to expect from the queer country troubadour. This one will get people two-steppin’ better than anything Nashville is cooking up these days.

Score: 8/10

Real Friends – Tell Me You’re Sorry

The Illinois-based emo heroes return with a by-the-numbers pop-punk track that will satisfy longtime fans but gain no new recruits.

Score: 5/10

Slayyyter – Troubled Paradise/Inferno Euphoria (Not a Friend Remix)

This high-energy remix combines the title track from Slayyyter’s previous LP with a new song, destined for floor filler euphoria on your next Friday night.

Score: 7/10

Mary J. Blige w/ Anderson Paak – Here With Me

Blige sounds a bit out of her element on this generic funk-based beat, while Paak sounds right at home. Results are mixed overall.

Score: 6/10

kmoe – it gets lonely

When the beat drops on this skittering, shimmery hyperpop nugget, it’s like biting into your favorite flavor of Skittle. Let the dopamine hit.

Score: 9/10

patchnotes – Baby

On the other side of the hyperpop spectrum, patchnotes conjures a chillwave vibe that also evokes lo-fi beats you can study to, equal parts theatrical and pensive.

Score: 7/10

flowerovlove – I Love This Song

Speaking of vibes, this one’s got some – a steady, swaying pop song that never reaches for the rafters, but rather remains content in its lane. Hard to explain, but you’ll know when you listen.

Score: 7/10

Kim Petras – XXX

The best track on an otherwise disappointing sex-themed EP that sacrifices gratuitous content for good dance pop songs. “XXX” is an example, but the beat here is stronger than what’s on the rest of the project.

Score: 6/10

Top Ten This Week


Feb 20 2022

Album Review: …And You Will Know Us By the Trail of Dead – Source Tags & Codes (#MWE)

I lived in Austin, Texas, for ten years. Trail of Dead are a band from Austin, Texas. And I suppose, based on my cursory listen to their most acclaimed album, that’s probably the only thing we have in common. Band member Conrad Keely has said that some songs on Source Tags & Codes are about the joy of living in Austin in the 90s, surrounded by night life revelry and people on illicit substances. I am happy to report I did similar things two decades later, walking the same streets, doing the same drugs. So I’m fairly surprised that, based on that experience, this is what the band came up with.

I know artists draw inspiration from everywhere, not just their surroundings. Sonically, it’s clear they weren’t influenced by the sounds of Central Texas. That’s fine, because generally speaking, neither am I. But I guess I’m just nonplussed by sullen, and how unimaginative the whole affair feels.

The music on Source Tags & Codes is not the music I would have come up with. It’s not even that I likely wouldn’t produce a Sonic Youth type of dissonant, dour indie rock. That much is true, but it’s beside the point. It’s that Austin is great city, where great memories are made. The city inspires, if not great music, at least memorable music. At best, you get the pristine, minimal indie chops of Spoon. At worst, you get boring AAA Grammy bait like Black Pumas. But Trail of Dead fall somewhere in the middle, and that might be even worse – with Source Tags & Codes, the band made a fairly unmemorable collection of songs. It’s 45 minutes of morose mid-aughts indie rock that washes over the listener

I will say this about Source Tags & Codes: it keeps the listener engaged through a variety of approaches to the same general sound. “Another Morning Stoner” has the most memorable melody on the entire album. “Baudelaire” is angsty and angular. “Homage” is aggressive. “Heart In the Hand of the Matter” has some piano in there. But overall, the mood remains the same – it’s all a bit joyless, a bit unimaginative, and a bit indistinct. The end result leaves no lasting impression, which renders this writer a bit shocked, considering the heap of praise it received back in 2003. Perhaps it’s a matter of taste, but I find myself to be of an open mind, particularly in the realm of indie music. And Source Tags & Codes bored the hell out of me.

Score: 4/10


Feb 19 2022

Album Review: Band of Horses – Everything All The Time (#MWE)

One listen to Everything All The Time, and I know that I should have listened to it sooner. Specifically, I should have listened to it in college, when it was fairly new. The debut album from Band of Horses would have aided my recent heartbreak from my high school sweetheart; its twangy, sun-soaked melancholy would have contributed positively to the soundtrack to my coming of age, as I danced in dingy bars in Lubbock, Texas, drunk off the cheapest beer on the menu.

Instead I discovered the band through their sophomore album Cease To Begin, which I still find to be the superior of the two. By then, the majority of the band had left Ben Bridwell to his own devices, and he evolved the group’s My Morning Jacket-aping tendencies into something more distinct, earnest, and effusive. By contrast, Everything All The Time finds Band of Horses beginning to develop their Southern-tinged heartland indie bona fides, with occasional moments of sheer brilliance, as on all-timer “The Funeral.”

Bridwell’s yearning yelp understandably draws comparisons to Jim James, as his band incorporates steady mid-tempo rhythms and resonant guitar plucking to great emotional effect. The project tends to drag in the second half, with the exception of “Weed Party,” a wistful rocker about getting into youthful trouble.

Band of Horses certainly found their lane with the follow-up, then almost immediately lost the plot for the next decade, as their signature sound devolved into nondescript coffeeshop rock. The early stuff, however, still has the tendency to tug at the heartstrings.

Score: 7/10


Feb 18 2022

Album Review: Massive Attack – Mezzanine (#MWE)

A whole wave of eerie trip-hop entered the public consciousness, particularly in the UK, thanks to Massive Attack. When a modern listener hears Mezzanine, arguably the group’s landmark album, for the first time, they might conjure mental images of the X-Files movie or Neo and Trinity running down a dark hallway in trench coats. The ubiquity of this sound ran rampant so prominent to become a cliche, but the influence of Mezzanine cannot be ignored.

Opener “Angel” sets the tone for the album, a fairly major departure from Massive Attack’s jazzier approach on previous efforts like Protection and Blue Lines. The song is an ominous, slow build, and an eerie vibe is established for what’s to come. “Risingson” features smoky atmospherics, record scratches, and raspy rapping from Robert Del Naja and Grantley Marshall. The track features a Velvet Underground sample, a practice Massive Attack liberally continue on Mezzanine.

For my money, the best song on the album is “Teardrop,” perhaps because I’m a fan of the television show House, which used the song for its opening title sequence, and also perhaps because I’m a fan of Jose Gonzalez, who does a creepy acoustic cover of the track. These usages aside, the song stands on its own as a gorgeous, layered centerpiece for the album, evoking a dark wave of synths and subtle electronic snare hits over the listener’s ears, as Elizabeth Fraser’s haunting vocals wash over everything. If “Teardrop” isn’t the moment of conversion for any skeptic, then “Inertia Creeps” should do the trick; the song is a barrage of crawling electronic sounds and enveloping ambience, surrounding whispery rapping. The track feels as if it’s building to something more explosive, maybe more terrifying, but the moment never comes, giving “Inertia Creeps” a delightfully anxious mood.

In the second half we are treated to encroaching Reznor-esque guitars and Sarah Jay Hawley’s ominous vocals on the trip-hop-flavored “Dissolved Girl,” while “Black Milk” is a dark, Manfred Mann-sampling blanket of late-night disquiet. The formula wears a bit thin on the cover of “Man Next Door,” which doesn’t contain quite the same harrowing vibe as the rest of the album.

The mood of Mezzanine still haunts decades later; it’s a collection of goosebump-inducing unease that also functions as a successful foray into a new sound for the influential electronic group. Massive Attack reportedly were not getting along during the recording of the album; perhaps that discomfort crept its way into the cracks of Mezzanine, as every song follows a pattern of pleasant instability, like watching a wonderfully sinister thriller. It’s no wonder the sound permeated throughout the landscape of foreboding films and television shows. Even now, it still makes the listener’s hair raise.

Score: 9/10


Feb 17 2022

Album Review: The Wrens – The Meadowlands (#MWE)

It’s interesting that The Wrens took four years to make The Meadowlands, because it probably showed up at just the right time. Almost 20 years ago, indie rock was having a Renaissance moment, as the Internet exposed a larger audience to an array of sounds from the underground. It should be noted, as has been mentioned elsewhere in recent years, that these sounds were mostly from white men who played guitars, and that the people writing and giving critical acclaim to these bands were also white men.

In the context of The Meadowlands, that’s important; while it’s clear the critical establishment would be interested in a new Wrens album in 2022, it almost certainly wouldn’t receive the universal praise that was heaped upon the band in 2003. We know this because it’s basically already happened: little buzz was made about Kevin Whelan’s solo album in 2021 under the name Aeon Station, and while the release was met with generally favorable reviews, the album came and went. You could chalk that up to our collectively shortened attention span, or that the album just wasn’t as good as anything The Wrens put out, but I think the biggest factor is that, two decades later, indie music and the people who write about it have changed greatly.

Given this context, The Meadowlands should seem like a bit of a relic. Plenty of its peer albums that received critical acclaim have been lost to CD dustbins and the Pitchfork archives. But actually, the final album from The Wrens still feels fresh. The band produced an hour-long treatise on melodic, literate rock that still has the power to provide a healthy dose of catharsis.

The album opens with a gradual build of melodic guitars and crescendoing vocals via “Happy,” all before a satisfying instrumental breakdown near the end of the track, heavy with echo pedal-saturated riffs. One can only imagine what this song sounded like at The Wrens’ now-legendary energetic live shows, one of which I was lucky enough to have attended at SXSW 2008. We are later treated to “This Boy Is Exhausted,” featuring in-the-pocket harmonies and agreeably jangly chords.

The album ebbs and flows from contemplation rock to high-energy stompers. “Faster Gun” is a slice of heavenly Sebadoh-esque power pop heaven that I actually remember hearing in high school on WOXY.COM (RIP), only for the album to shift once more to the gorgeous slow tempo track “Thirteen Grand.” The album isn’t without its instances of filler, like the repetitive “Hopeless” and the dragging “Boys You Won’t,” but taken in the context of the full project, every piece is a journey in thoughtful song construction, and sharply crafted melody is featured throughout.

Things get louder and doused in distortion for the one-two punch of “Per Second Second” and “Everyone Chooses Sides,” the latter sounding like a gratifying Robert Pollard jam. The album closes with “13 Months In 6 Minutes” and short piano outro “This Is Not What You Had Planned,” the former song a tranquil, yet magnetic reflection that evokes the twang of 1990s Modest Mouse.

Even decades later, The Meadowlands serves as a masterclass in rewarding, sprawling statements set to guitars and drums. The narrative might have shifted, but the music remains, and it’s still wholly enjoyable.

Score: 7/10