The album’s opener, “Light On,” sets the tone with shimmering flutes and marimba accents that dissolve into jazzy guitar riffs. The track feels warm and introspective with lyrics that wrestle with themes of loneliness, truth, and mortality. Tracks like “Econolining” and “Flash Bare Ass” showcase White Denim’s newfound embrace of digital assembly. “Econolining” is a hyperactive burst of rhythm, with keyboards and percussion racing each other. “Flash Bare Ass” dives deeper into themes of connection and creativity. Its layered vocals and vocoder effects inject complexity, demonstrating Petralli’s ability to balance technical precision with emotional weight.

The middle of the album is where 12 truly shines. “Look Good,” featuring the “Queen of Austin Soul,” Tameca Jones, is a standout, with its infectious groove and silky synths creating a timeless funk-soul vibe. This is immediately followed by “Second Dimension,” a song steeped in synth-driven electro-funk reminiscent of Stevie Wonder. “I Still Exist” gives the listener lush woodwind arrangements and tight harmonies, which serve to mask the weight of its introspective lyrics. Meanwhile, “Hand Out Giving” dips into country-rock territory, blending pedal steel and banjo with modern synth textures, giving a little taste of White Denim at its best. The album closes with “Precious Child,” a smoky ballad that leans heavily on brass and vibraphone. The lyrics on “Precious Child” seem to be focused on mortality, which creates a kind of bookend with the lyrical similarities from “Light On.”

As a whole, 12 is both a triumph and a work in progress. It showcases James Petralli’s evolution as an artist willing to adapt, experiment, and push boundaries, even if the results occasionally feel uneven. The brief instrumental interlude “Cat City #2” feels like an intriguing but incomplete idea, while the more traditional rock elements of “Swinging Door” and “We Can Move Along” struggle to keep up with the album’s adventurous spirit. The album’s eclecticism reflects a band in transition, caught between its roots in improvisational chaos and a more measured, studio-crafted future. Despite its moments of disjointedness, 12 is a testament to the creativity of Petralli. For fans old and new, 12 is a fascinating chapter in their ongoing story. Rich with ideas and brimming with potential, the album lends excitement to how White Denim can expand this sound in the future.

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Most of the time, it turns out to be internal tensions, a desire to do something different creatively, or both. The key to answering the question honestly is remembering that the artist often denies these motivations at the time. It’s only later—in the tell-all memoir—that the truth emerges. So when Chvrches frontwoman Lauren Mayberry announced her new solo LP, Vicious Creature—dropping this Friday—many fans asked that very question.

To be fair, Mayberry has denied problems in the Chvrches camp, telling assorted media outlets that it was a desire to explore her own creative muse outside of the limitations of the band. But are we wrong to think “that’s what they all say?”

And while we probably won’t know for sure until further down the road when Chvrches reconvenes, there’s no question that Vicious Creature focuses on a more pop-oriented sound as opposed to the luscious, Depeche Mode vibe that Chvrches generates via massive production. Did a desire to strip that down put her at odds with her multi-instrumentalist bandmates? Well, who knows?

What we do know is that she’s given us a strong, well-written record. Yes, she had collaborators, but the record has a personal flavor that you can’t fake. The album takes cues from her early musical loves, such as Tori Amos and Fiona Apple.  Whereas a new Chvrches record has more elusive melodies that leave you saying “I’m going to love this eventually once it sinks in,” Vicious Creature has an immediacy, infectious and accessible on first listen.

Is it fair to compare to Chvrches? Eh, probably not. But even music reviewers live in the real world and it’s going to happen.About that. Given the changing nature of the music biz, none of the sound of Vicious Creature is exactly a mystery at this point, so plenty are already forming opinions. Though the record drops in a few days, five of the 12 tracks are already available, giving listeners far more than a taste.

This record is not a wall of synths and beats and aptly demonstrates who does what in Chvrches. Consider one of Chvrches best songs, “Bury It,” from Every Open Eye. It has an infectious synth riff, and nothing on Vicious Creature takes synths this far out of the background. Instead, Vicious Creature is like a meeting in a comfortable library room or parlor while “Bury It” bangs away in the ballroom for those more interested in moving their feet.

But that’s not to say Vicious Creature doesn’t have a groove. Opener “Something In The Air” sounds melodically like Chvrches—you can hear the cadence in Mayberry’s voice. She even manages to use the words “conspiracy theories” in a way that isn’t frustrating, which is a real achievement in our QAnon-tainted era. “Sunday Best” also sounds like Chvrches and will likely please a lot of fans following Mayberry from that project.

But there are a lot of different paths, too. “Shame” has an almost-acapella section that’s hard to picture on a Chvrches track. “Oh, Mother” is a touching piano ballad inspired by family illness. It boasts a warm personal ambiance that’s hard to pull off, with an emotion that recalls Fleetwood Mac’s Christine McVie at her heartbreaking best. This track wasn’t released as a single and may provide the biggest surprise for listeners. “One of the Boys” has a distorted percussion sound that is the flip side of “Oh, Mother,” with corrosive moments that could appear on the score of a dystopian film. In Terms of the intensity of the beats and punk rock stylings, it weirdly seems almost more Chvrches than Chvrches. 

The album highlight is arguably “Change Shapes,” one of the advance singles. It sounds like Madonna, although Mayberry has a more angular sense of melody. The chorus is a great theme for the album, even though the lyrics are likely inspired by relationship: “I change shapes / ‘Til I get what I need from you / We’re all snakes / But what else is a girl supposed to do?”

Madonna isn’t a bad touchpoint for the entire project; she is a template for this kind of artistic shape-shifting. Given the types of influences Mayberry cites, she probably wouldn’t object to the comparison. Overall, the lyrics find Mayberry in the promised introspective mood, unsurprising for a solo record. She writes of leaving past loves in the rearview mirror, presumably a factor in her well-publicized successful relationship with Sam Stewart, son of Eurythmics’s Dave Stewart. She has stated that she took a character-driven approach to some of the material, but even that feels personal. It’s often said that the best writers write about themselves, and that may be. Or it may be that she is just good at inhabiting her characters and bringing them to life, similar to a talented actor. 

Overall, Vicious Creature is an enjoyable record that rewards thoughtful listening. The rumors are true: Lauren Mayberry has changed shapes and by design. What else is a girl supposed to do? 

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Now, Volume 52 of the Dave’s Picks archival series documents the versatility, not to mention the solidarity Mydland brought to the group during his ten-year-plus-long tenure with the psychedelic warriors. The prominence of his organ playing on “Alabama Getaway” is an early instance of how the earthy sound of that instrument elevated some of the pedestrian material the Dead was writing, performing ,and recording at the time (in this case, 1980’s Go To Heaven LP). 

Brent’s gusty background vocal also adorns a sprightly “Mexicali Blues.” Jerry Garcia’s Chuck Berry-derived guitar solos there–hearkening to later g selection of the rock and roll story-tellers “Around And Around”–supplies further distinction. As does the segue into the comparably witty “Greatest Story Ever Told;” as the Bob Weir/John Barlow songwriting team began to flourish around this time, their efforts were superior to their Garica/Hunter counterparts. at least when it comes to the latter’s modified blues “West LA Getaway”.

Likewise, “Hell In A Bucket” (the former pair’s collaboration with Mydland) makes for a very complementary piece juxtaposed as it is with “Dire Wolf” off Workingman’s Dead. The snappy dual drumming of Bill Kreutzmann and Mickey Hart comes through with great clarity and presence in Dan Healy’s original recording (and Jeffrey Norman’s mastering likewise preserves such detail).  At the same time, Phil Lesh’s bass is proportionate in the mix with his rhythm devil partners.

After proceeding apace in fleet fashion for most of disc one, “C.C. Rider” continues the downturn in energy begun by “Althea.” Thankfully, “Might As Well” belies its lackadaisical title as the band shuffles along at a good clip, effectively setting the stage for the “Help Is On The Way”>”Slipknot”>”Franklin’s Tower” triptych at the outset of the next interval. 

More than sufficiently warmed up at this point, the Grateful Dead are clearly inspired to proceed on a massive adventure in and out of segues, including “Drums”>”Space” and the late entries of “Truckin'” and “Sugar Magnolia:” The sextet is hardly tired of such warhorses and thus sounds both electrified and electrifying.

Anyone who thought this archival series–or Dead Vault exhumations in general–were slipping into the doldrums in 2024 will be convinced otherwise by the time an approximately half-hour unfolds to conclude the third CD. Taken from the previous night at The Downs At Santa Fe, the Grateful Dead musicianship becomes increasingly informed with ingenuity and intensity. And, proceeding by leaps and bounds as the show(s) close, Brent Mydland’s acoustic and electric pianos glue together the alternately majestic and merry tones.

The graphic design of the package by Steve Vance (who also did the fanciful front cover art) is thus as vivid in its way as the music that comprises The Downs At Santa Fe, Santa Fe, NM 9/11/83. A twelve-page booklet of action shots and memorabilia within the triple-fold digipak also includes chief curator David Lemieux’s essay, the fond remembrances that constitute the finishing touch to Dave’s Picks Volume 52. 

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Forming this collective is not new for the label. You may recall such names as Out of the Blue, Superblue, New Directions, the Blue Note 7, and the Blue Note All-Stars, populated by musicians such as Kenny Garrett, Roy Hargrove, Jason Moran, Ravi Coltrane, Bill Charlap, Robert Glasper, Lionel Loueke, Ambrose Akinmusire, and so many more. These groups didn’t dwell on the past or the label’s so-called Golden Age but instead pushed the music forward uniquely.

The name Out Of/Into almost says just that – out of the tradition and into the next phase, or you could take it as the ability to play both ‘in’ and ‘out’ as all these quintet members do with seven original works composed by the members. Nothing here is composed given the improvisational talents of these players, but they did have the opportunity to explore every facet during nearly 40 live engagements, as Clayton says, “We pushed one another to reach further and dig deeper night after night…Things grew both tighter and looser.”

Having attended one of the first shows on the tour, descriptions such as ‘musical poetry,’ ‘mesmerizing,’ ‘incredibly deep,’ and ‘in a special zone’ come to mind. The recorded music does those descriptions justice, too. Clayton composed four of the seven, with Ross, Brewer, and Scott contributing one. Clayton’s “Ofafrii,” the lead single, also leads off. Within the first 45 seconds, you distinctly hear all five instruments, with Wilkins’ alto stating the lilting melody before handing off to Ross for an expressive turn. While there are marked solos throughout the album, they don’t necessarily adhere to the conventional head-solo-solo-solo-head format, emphasizing the collective sound and focused interplay. It’s all post-bop, with healthy doses of the ‘out.’ Generally, it is flowing, highly sophisticated, and graceful, but with several intense moments. In the historical context; it lies somewhere between the Wayne Shorter and McCoy Tyner spectrum to the even more adventurous Andrew Hill, Eric Dolphy, and Grachan Moncur III.

The opening to Clayton’s polyrhythmic “Gabaldon’s Glide” features a heady solo from Scott that segues to Ross before Wilkins soulfully floats above the ensemble with a commanding presence that matches Ross and Scott, who are flying, as is Wilkins in his second entrance. Mark this in the ‘intense’ category. Ross’ “Radical” features the quintet in a highly lyrical posture with elegant turns from Wilkins, Clayton, and Ross. The ending with the reverberating vibes is simply gorgeous. Similarly, the group reaches explorative heights on Scott’s “Synchrony,” which is heavy on the percussion end with the drummer’s intro, a vivacious Ross, balanced by the steady play of the others. Brewer’s “Aspiring to Normalcy” is challenging and intricate, navigated deftly by the ensemble. There’s always room for balladic and pensive fare, which Clayton delivers in both the haunting, edgy “ Second Day,” which has outstanding bass work from Brewer and an atmospheric vibe, and the nostalgic, delicate “Bird’s Luck.”

As you’d expect, given these musicians, this is contemporary jazz of the highest order. Better yet, Motion I implies another sequel to look forward to.

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From the first notes of “It’s a Good Feeling (Riot),” the album brims with an infectious energy. The opening track sets the tone with its bold brass section, conga-driven grooves, and Bataan’s impassioned delivery. The rhythm embodies the pulse Bataan’s home of Spanish Harlem. “Ordinary Guy,” one of the album’s most beloved ballads, reveals a different side of Bataan. With a stripped-down arrangement highlighting his tender vocals and poignant lyrics, this song stands as an anthem for self-acceptance. Bataan’s doo-wop roots shine here, as his voice drips with vulnerability and sincerity. “Muñeca” really shows the group’s Latin roots with a lively salsa groove. Co-vocalist Louie Gonzalez’s Spanish-language vocals take center stage, and his delivery is full of charisma and energy. It’s a track that embodies the joy and vitality of salsa, turning “Muñeca” into a dancefloor classic. “What Good Is a Castle” is another soulful ballad. This track delves into themes of love and loss, with lyrics that ponder the emptiness of material success without emotional fulfillment. On “Pa’ Monte,” Bataan and the Latin Swingers turn up the heat. This track brims with rhythmic complexity, its layered percussion driving the melody forward with unrelenting intensity. The song’s jubilant energy, paired with its tight horn arrangements, makes it a quintessential salsa anthem.

What sets Riot! apart is its seamless melding of genres. Bataan’s “salsoul” aesthetic, the fusion of salsa and soul, is at its most vibrant here on Riot! The album’s dual linguistic approach of English and Spanish vocals, reflects Bataan’s unique perspective as the child of an African American mother and Filipino father growing up in Spanish Harlem. Riot! not only became the highest-selling Latin album of 1968 but also cemented Joe Bataan’s role as a trailblazer. Its enduring influence can be heard in everything from contemporary salsa to neo-soul. This vinyl reissue, mastered from the original analog tapes, breathes new life into these recordings. With pristine sound quality and a 180-gram pressing, the album feels as fresh today as it did more than five decades ago. 

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The album’s breakout hit, “Boom Shak A-Tack,” is an infectious anthem that perfectly encapsulates the duo’s signature style. Mr. Notch’s silky-smooth vocals glide effortlessly over Edley Shine’s gritty, rapid-fire delivery, a juxtaposition that sets the group apart. The rhythm is built on a pulsating bassline, sharp snares, and syncopated kicks that mimic the cadences of Jamaican sound system culture. Another standout track, “Warning Sign” takes on a darker, introspective tone. The track opens with a dancehall-style horn and intro by Edley Shine before giving way to an ominous synth pad that sets a haunting mood, soon joined by echoing drum hits reminiscent of a dub-style production. The catchy chorus of “Red light, yellow light, green light -GO” gives this downtempo track that catchiness makes this track one to revisit time and again. “Cease & Seckel” is a lyrical showcase for Edley Shine, riding a mid-tempo groove that blends a classic reggae skank with crisp hip-hop beats. The rhythm section features a bubbling bassline and snappy hi-hats that keep the momentum alive. Mr. Notch provides a melodic counterpoint, softening the intensity with smooth, harmonized choruses. The fiery dancehall number “Informa Fe Dead” addresses the ever-relevant topic of loyalty and betrayal. The rhythm is fast-paced, with a pounding bassline and quick, staccato drum patterns that evoke a sense of urgency. “Why Do Girls” features a playful, lighthearted reggae beat that’s impossible not to sway to. The instrumentation is simple but effective, with a prominent bassline, crisp hi-hats, and occasional horn stabs, adding a touch of flair. 

Kids From Foreign was groundbreaking for its time, helping to popularize reggae’s crossover into mainstream hip-hop markets. The album not only landed on the Billboard 200 but became one of the best-selling reggae albums of the year—a testament to the duo’s broad appeal. Though Born Jamericans had a short-lived career, only releasing two albums, they helped hip-hop-infused reggae crossover into the mainstream along with peers like Shaggy, Inner Circle, and Ini Kamoze. Hearing these tracks on vinyl breathes new life into the music with a warmth and clarity that digital formats often lack. Limited to just 2,400 copies, fans of 90s reggae will definitely want to add this release to their collection.

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The show resulted in their first live record, the 6-song EP, Over There: Live at the Venue, London. A great sampler, but hardly a true documentation of that frenetic live set. Just in time for Record Store Day Black Friday, the label Liberation Hall is finally putting out the complete show, including the original six songs, plus 17 other tracks from the set. It’s a remarkable time capsule of the band in its prime. The original EP only included one original song from The Blasters’ “I Don’t Want To” and was filled out with covers (but solid covers) of Jerry Lee Lewis’s “High School Confidential,” Edwin Bruce’s “Rock Boppin’ Baby,” Little Richard’s “Keep A Knockin’,” Roy Orbison’s “Go, Go, Go,” and Big Joe Turner’s “Roll ‘Em Pete.” 

In 2002, three more of the show’s songs were included on a compilation record, including the blistering saxophone instrumental “Walkin’ with Mr. Lee,” but this latest release is the definitive snapshot of that show, including phenomenal versions of “Marie Marie,” “American Music” and “I’m Shakin,’” as well as a rockabilly cover of Otis Redding’s “These Arms of Mine.” Any of these songs on their own are enough to win over the uninitiated; the entire album is enough to make you a lifelong fan of the band.  

The Blasters would break up just three years after the initial live EP came out but had already planted the roots for an entirely new genre: alt country. They also influenced a number of other local artists from the early 1980s scene like Los Lobos and Dwight Yoakum, both of whom are still releasing new music today. The Blasters have reformed several times over the years with additional members with frontman Phil Alvin being the only constant.   

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The album opens with “Hive Minds,” a relentless barrage of punishing riffs, guttural screams, and intricate drumming that immediately sets the tone for the album. The frenzied energy of the opener leads seamlessly into “If You Got It at Five, You Got It at Fifty,” a standout track that showcases the band’s mastery of dynamics. The blistering verses give way to a hauntingly melodic bridge, making it one of the most memorable tracks on the album. The title track, “Wrongdoers,” with its anthemic chorus and pounding rhythms, captures a sense of existential struggle, while the layered instrumentation adds a richness that elevates it beyond standard metalcore fare. One of the album’s most haunting moments comes with “Sword in Mouth, Fire Eyes,” a slower and more atmospheric track. The track allows the band to showcase their melodic sensibilities without sacrificing intensity. Cory Brandan’s vocal delivery is particularly striking here, as he shifts from anguished screams to mournful singing, creating an emotional core that resonates long after the song ends. The album’s closing track, “Sun Dies, Blood Moon”, is a fourteen-minute epic that feels like a culmination of everything Norma Jean had been building toward. The song ebbs and flows between moments of crushing heaviness and ethereal beauty, with its haunting outro serving as a perfect bookend to the album’s journey.

What sets Wrongdoers apart is the way it captures the essence of Norma Jean’s evolution. While earlier albums leaned heavily into raw aggression and chaotic energy, Wrongdoers feels like a mature refinement of their sound. The incorporation of classical instruments, subtle melodic shifts, and thoughtful production doesn’t dilute their heaviness—it amplifies it. This willingness to experiment without losing their core identity is what makes Norma Jean one of the most enduring bands in metalcore. The RSD Black Friday vinyl reissue of Wrongdoers is a testament to its enduring impact. Pressed on “Fire Eyes” colored vinyl and featuring a printed lyric insert and limited to 2,750 copies, this edition gives fans a chance to own this pristine-sounding, landmark album on vinyl for the first time since its release.

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The first four chords on the album are instantly recognizable to anyone who turned on the radio in their car in the 90s. “Everything Zen” is an explosive mission opener, with Gavin Rossdale’s raspy, yearning vocals cutting through Nigel Pulsford’s angular guitar riffs. The track’s mix of aggression and melody sets the tone for what follows: a collection of songs that are heavy enough to satisfy grunge fans but accessible enough to appeal to a broader audience. This formula is ultimately what led to Bush’s success as rock fans were beginning to look for some optimism after Cobain’s death earlier that year. Bush fit right into that musical taste shift that saw the rise of bands like Weezer, No Doubt, Green Day, and The Offspring all in the same year.

Though “Everything Zen” began the popularity of Bush on the radio and MTV, it would be three other songs from the album that would launch them into the stratosphere; “Comedown”, “Glycerine”, and “Machinehead”. The most unabashedly anthemic track on the album, “Machinehead” is pure adrenaline. Its opening guitar riff is instantly recognizable, setting the stage for one of Bush’s most energetic performances. The song’s relentless drive and infectious chorus make it a natural crowd-pleaser. One of the album’s most iconic tracks, “Comedown” is built around a hypnotic guitar riff, the song captures the anguish of love and its inevitable collapse. The song’s layered guitars and subtle shifts in intensity create an immersive listening experience, making it a cornerstone of Bush’s catalog. Perhaps Bush’s most famous song, “Glycerine” is a stunning departure from the rest of the album’s heavy, guitar-driven sound. Stripped down to Rossdale’s voice and a simple electric guitar arrangement, the track is raw and intimate. Its lyrics, simultaneously vague and deeply emotional, evoke a sense of longing and regret that resonates universally.

Outside of the huge hits, Sixteen Stone has a lot more to offer on its tracklist. An early single and fan favorite, “Little Things” builds from a subdued, almost meditative intro into a soaring rock anthem. The song epitomizes Bush’s ability to create dynamic shifts within their music as quiet verses explode into cathartic choruses. A hidden gem on the album, “Testosterone” blends pulsating basslines with jagged guitar work to create an unsettling yet compelling atmosphere. The lyrics are a mix of machismo and vulnerability, hinting at themes of identity and insecurity. “Alien” is a slow-burning, introspective track that feels almost cinematic in its scope. The ethereal opening gives way to throbbing basslines and soaring guitar work, with Rossdale’s vocals dripping with melancholy. Closing the album with a burst of energy, “X-Girlfriend” is raw, fast, and almost punk-like in its delivery. At just under a minute and a half, it’s the shortest track on Sixteen Stone, but its frenetic pace and cheeky lyrics provide a fittingly abrupt end to an emotionally charged album.

Sixteen Stone is a masterful debut that combines grunge’s rawness with undeniable pop sensibility. Every track contributes to its cohesive yet varied sonic palette, ensuring there’s no filler. Its enduring appeal lies not only in its nostalgic value but in the strength of its songwriting and performances, which remain as compelling today as they were in 1994. At its core, Sixteen Stone is an album of contrasts: heavy yet melodic, introspective yet radio-ready. It captured a specific moment in rock history when grunge’s rawness was evolving into something sleeker and more commercially viable. The remastering on this release really lets the vocals and instrumentation shine that you just don’t get from its digital counterpart. This is a must-own version for any fan of this album.

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