5 new releases we love: Elton John opens the vault, AC/DC is back from the dead, and more
Music Features A-Sides
There’s a lot of music out there. To help you cut through all the noise, every week The A.V. Club is rounding up A-Sides, five recent releases we think are worth your time. You can listen to these and more on our Spotify playlist, and if you like what you hear, we encourage you to purchase featured artists’ music directly at the links provided below. Unless otherwise noted, all releases are now available.
Elton John, Jewel Box
[UMe/EMI, November 13]
Elton John fans who lean more toward the “Someone Saved My Life Tonight” era than the “I’m Still Standing” portion of his career may be interested in investing in Jewel Box. This extensive new box set features a multitude of deep cuts and rarities, from the early days of his career all the way to his duet with Taron Egerton in last year’s biopic Rocketman. Those looking for songs they immediately recognize will likely be disappointed (give or take a “Philadelphia Freedom” remix), but some of these tracks are so exemplary (curated by the artist himself) that it’s hard to believe they got lost in the shuffle of John’s meteoric rise. Standouts include early emotive collaborations with lyricist Bernie Taupin, like 1969’s previously unreleased “Sing Me No Sad Songs” and “Watching The Planes Go By,” offering full sagas of heartbreak in just a few captivating minutes of pop. The hilariously titled “Gotta Get A Meal Ticket” hints at the fierce piano rocking to come on “Saturday Night’s Alright For Fighting,” while the acoustic duet “Snow Queen” with Kiki Dee offers a flip side to their radio hit “Don’t Go Breaking My Heart.” It may take some digging through the avalanche of Jewel Box’s tracks to find the gold, but for fans, it’ll be a worthy enterprise. [Gwen Ihnat]
Masego, Study Abroad EP
[EQT Recordings, November 13]
Rapper-singer-saxophonist Masego is an artist who is incapable of remaining still. Consider it the fortunate side effect of someone who has seriously nurtured his talent and stage presence in the two years since his debut, Lady Lady. Rather than sequester himself in one genre, the Jamaican American virtuoso trots from trap to jazz, hip-hop to dancehall. So it seems fitting that moments from his latest EP, Study Abroad, explore his international palette, infusing island grooves with brass and soul. The enchanting collection is also the mark of a killer storyteller, as Study Abroad is—above all else—a concept album that traces the journey of a relationship, from its dreamy beginning in the reggae-infused “Silver Tongued Devil,” to creeping doubt in the pensive “Mystery Lady,” to its curt end in “Bye Felicia.” The latter track is a clear favorite (and an all too brief one, clocking in at less than three minutes), heightened by a masterful sample of R&B luminaries 112 and Masego’s ability to swagger into a hook before deftly pivoting to searing saxophone runs. Grab your earbuds and your passport; Study Abroad is a worthy trip. [Shannon Miller]
Molchat Doma, Monument
[Sacred Bones, November 13]
Even if you’ve never heard of Molchat Doma, you’ve heard Molchat Doma—if you’re terminally online, anyway. That video of a bunch of bats upside down that looks like they’re hanging out at a goth nightclub? That’s Molchat Doma’s “Судно (Sudno)” on the soundtrack. The TikTok meme where teens pine to trade the cheerful consumerism of suburban America for the gloomy concrete of Soviet Russia? Same band, same song. The Belarusian post-punk trio is already a big deal in Europe, but—thanks in part to their success on social media—they recently signed with Sacred Bones Records, where they’ll fit right in with labelmates like Zola Jesus and John Carpenter. Molchat Doma’s first proper American record, Monument, is out this week, and both elder goths nostalgic for the good old days of Joy Division and Bauhaus and high school students who wear oversized black sweaters in July will find the severe yet danceable vibes of songs like opener “Утонуть (Utonut)” and singles “Не Смешно (Ne Smeshno)” and “Дискотека (Discoteque)” to be just what the plague doctor ordered. [Katie Rife]
Kylie Minogue, Disco
[BMG Recordings, November 6]
It’s been 20 years since Kylie Minogue pleaded, “Your Disco Needs You,” and, oh, how the turntables have turned—these days, it’s we who need the disco. One of our most reliable pop stars for three decades and counting, Minogue returns (from the twang-and-tinsel-inflected Golden) to completely own the dance floor with her 15th studio album, Disco, a dazzling burst of joy and levity. As the twinkling synth of opening track “Magic” fades in, the record lures you into its fantasia—a proper Xanadu where the sounds of ’70s and ’80s radio swirl into a blend of escapist dance pop. While many contemporaries have recently (and successfully) cribbed from the disco era, Minogue proves why this is still her sweet spot, her spritely vocals at home with the throwback strings and enthusiastic hand claps that punctuate some of the album’s best songs (though, in truth, they’re all bops). As a bonus, she chases Disco with Infinite Disco, a live performance of her catchiest hits, seemingly filmed at an intergalactic discotheque. Kylie Minogue’s Disco invites you to once again come into her world—and after a year like this one, you owe it to yourself to join her. [Cameron Scheetz]
AC/DC, Power Up
[Columbia Records, November 13]
There’s something comforting in knowing that, even in 2020, AC/DC will still be out there, kicking ass. After the band’s seeming demise (following the death of rhythm guitarist Malcolm Young, bassist Cliff Williams’ retirement, and more), the return of the legendary hard-rock group was improbable, to say the least. Yet here we are, with a brand-new collection of 12 tunes, most of which—such as lead single “Shot In The Dark”—sound ready to go toe-to-toe with anything in the band’s discography. Honestly, how many groups are this consistent? AC/DC found a formula that works, and they’ve stuck with it, nary a deviation, for almost 50 years. More unbelievable is how good singer Brian Johnson still sounds; you’d think the guy shredding those vocal cords on “Back In Black” in 1980 would have his voice like a wet paper towel by now. But no—AC/DC aren’t stopping, and with material this strong, why would they? To quote the Boss, don’t stop till you’re in the ground, boys. [Alex McLevy]
38 Comments
Always blows my mind that AC/DC is an Australian band.
How ACDC has gotten away with releasing the same album for over forty years I’ll never understand.
Man Molchat Doma is the best new New Wave stuff I’ve heard since Cut Copy. I will be checking that out.
Roosevelt.
I listened to 5 and 6 of their songs, and Cut Copy or New Wave weren’t really reference points that came to mind. The songs were perfectly fine, just heavier and more monochromatic than is my preference.
Wow, AC/DC really went in a different direction this time
“I’m sick to death of people saying we’ve
made 11 albums that sounds exactly the same, In fact, we’ve made 12
albums that sound exactly the same”- Angus YoungAC/DC may only have one song but it’s a really good song..
To paraphrase Henry Rollins; other bands “progress”, which is code for “start to suck.”
But AC/DC? Every album, it’s like you chipped the band out of a block of ice and they still think it’s 1980. And we love them for it.
I’m with Rollins. I think music critics tend to have a different view, because it’s less fun to write about consistency.
You don’t go to AC/DC for broad, expansive concept albums with deep narratives, and you don’t go to Pink Floyd for songs about partying and chicks. AC/DC know what they’re good at and that’s what they give us.
The band also could have also done easy cash-ins on the nostalgia circuit, but Brian Johnson said in a radio interview that the band has always tried to market to young people with each new album. To quote: “We want new fans to say ‘This is my music’ as opposed to ‘This is my dad’s music’.” I find that very refreshing for a legacy act.
I’d say they have three.
Even back in the 90s we had a joke: AC/DC have two great songs. Jailbreak and all the other ones.
They never got the memo that every long standing band has to do at least one dance oriented album produced by leading EMD artists
After Brian Johnson’s hearing problems, I was pretty sure they’d give up before subjecting us to an acoustic album. Good to see that Malcom’s rig is still in the band. That’s a level of consistency you come to expect from them.
An acoustic AC/DC would probably sound like Tenacious D, which is still pretty awesome.
AC/DC is the musical equivalent of a Four & Twenty and a carton of Farmer’s Union from the servo and we’re all better for it because of that.
Aesop Rock’s new release “Spirit World Field Guide” also came out today.It. Fucking. Slaps.
Naw but we need to talk about AC/DC damn it.
Glad to hear it slaps, looking forward to listening.
“Gotta Get a Meal Ticket” was released on “Captain Fantastic & the Brown Dirt Cowboy.” I imagine the version on the boxed set is earlier, but that title has been around for a while. (Looking forward to hearing that collection. Elton peters out for me around 1981 or so.)
was coming here to say the same thing. maybe it’s like that early version of “Madman Across the Water” with Mick Ronson, which in my opinion is a better version than the album version.
That’s the one on the Tumbleweed remaster? Far better than the album version.
yess, that’s the one.
It seems to be more a Greatest Misses collection as much a tradition rarities box set. From what I’ve read Elton wants to show people the deep cut songs he’s proud of that people might have skipped over getting to the hits, songs that fell by the wayside and songs from before he was famous.
“Meal Ticket” for example is just a remaster.
It’s 8 disks so gonna be a fun rumage.
Oddly, the Amazon listing doesn’t have a track listing, so I found it here:https://ultimateclassicrock.com/elton-john-jewel-box/And…three discs of 1965-71 stuff? Interesting..about 1/2 a disc seems to be early versions of Madman and Tumbleweed tracks.But I don’t know about a $100+ investment in Elton John oddities, even though I love the guy.
Spotify is our friend. No way I’m buying the whole box.
after hearing Trump supporters blast AC/DC for the last few weeks I need a break thankshaven’t been a ton of full albums I’ve got into over the last few weeks but The Drums, Run the Jewels, and Khruangbin all released singles. Been trying to love the new Oneohtrix Point Never but it’s more like the recent M83 DSVII, not many song songs and fairly diffuse. Some of it is still really good, though.And Sharon van Etten and Lera Lynn released christmas singles, shrug.
Don’t know if an EP counts, but TSHA just put one out called Flowers that’s very warm and vibey. https://open.spotify.com/album/4IgOdmQIePsO2r4BcbiQ74?si=bS1108PHRFiq7ffyECbzgg
Also released is the repackaged version of U2’s ALYCLB. Worth listening to for anyone who hates when a band’s unreleased b-sides are much better than the album tracks
Goddamn that album is great. My favourite of the extra tracks is The Ground Beneath her Feet. Stunning song.
I’m happy with the twin EPs Meg Myers released today. 10 songs and a tidy 34 minutes, so I get why she didn’t release it as an LP. But it’s pretty much a short LP.
How OLD does an album have to be, to be included on this NEW Release list? Just checking because Joe Bonamassa’s ‘Royal Tea’ dropped, and it blows all of the above out of the water. End to end, not one filler track.
Me listening to AC/DC
Took a listen to ACDC this afternoon…..its better than Blow Up Your Video at least
I’ve been working through Elton John’s albums in chronological order (am up to the late ‘80s / early ‘90s, so around “Sacrifice”), and here’s my hot-take: if you want an absolutely phenomenal single he’s your man, but great googly moogly is there a lot of forgettable filler on those albums. After Goodbye Yellow Brick Road, you might as well just buy a Greatest Hits album and you’ve pretty much got everything you need.
My wife’s been listening to Jewel Box most of the weekend, which means I’ve also been listening to Jewel Box most of the weekend. My overall impression is that while it really hasn’t changed my mind that his older stuff rocks and his newer stuff can be a little monotonous, it’s still worth it.This collection illustrates is just how prolific the Elton John/Bernie Taupin songwriting partnership has been, especially in the ‘70s when they were kicking out a minimum of an album a year. The heart of Jewel Box features the castoffs from that period and they’re really good.
I wonder how many staff members would’ve fainted or called out sick, had they been given the task of reviewing the new AC/DC album?