Vampire Weekend returns refreshed, Jenny Lewis has a Bella Donna moment, and more of the week’s best music
Music Features A-Sides
William Tyler, Goes West
[Merge, January 25]
Hiss Golden Messenger’s M.C. Taylor first heard guitar wiz William Tyler’s new album while on a cleanse—“no alcohol, no drugs, no evil thoughts,” a statement reads—in Texas Hill Country. Goes West, Taylor says, “offered up a model for what I wanted my head to feel like.” Indeed, Tyler’s latest offering is remarkable in its clarity. At times, listening to the gentle and nuanced arrangements makes you feel like you just woke up to a fresh breeze on some bright, glorious vista. And aptly, the serenity is decidedly Western, earthy, like the kind of instrumentals that could score out-of-context shots from Paris, Texas. The dreamy plucking of “Fail Safe,” along with the song’s video of American landscapes and honky-tonk revelry, is all the intro you need. It’s the kind of record one might imagine the universe spins when you gain the perspective you needed. [Matt Williams]
Sneaks, Highway Hypnosis
[Merge, January 25]
“Oh my gosh, Highway Hypnosis is coming out on Merge Records!” squeals an excited voice at the start of Sneaks’ newest album. The enthusiasm is justified: Across Highway Hypnosis’ 13 songs and 29 minutes, Eva Moolchan advances her hyperactive but minimalist, swaggering but humor-filled pop. On “Saiditzoneza,” she employs only sparse drum machines and ghastly synthetic gasping as she endlessly repeats the track’s not-quite-a-real-word title. “Holy Cow Never Saw A Girl Like Her” is also named after its only lyric, which Moolchan airs with a rap-like cadence over just a chunky eighth-note bass riff. On “Ecstasy,” among the album’s handful of M.I.A.-esque turn-ups, Moolchan revels in slightly offbeat synths, drum-machine pitter-patter, and languid melodies as she sings about personal freedom. “Long live Sneaks,” she chants across this song’s outro, knowing Highway Hypnosis is bold enough to leave a lasting impression. [Max Freedman]
14 Comments
I, uh, appreciate the cover of that Jenny Lewis single.
She should get that mole checked out!
*five million internet users make themselves dizzy standing up too fast to volunteer
I’m on it.
She’s definitely putting everything she’s got into promoting this album.
FIDLAR released a new album today. Haven’t listened to it in full yet, but here’s 2 tracks.
I love FIDLAR, and a friend of mine who also likes FIDLAR has heard the whole thing and says it is TERRIBLE. Hope they’re wrong.
Excited to hear the new Jenny Lewis. Vampire Weekend is garbage and I just don’t get critical opinion anymore. I saw Sneaks live at Subterranean a couple years back and it’s definitely a case of Emperor has No Clothes, it’s pretty bad. Just go put on your favorite MIA track and avoid it. This William Tyler stuff sounds pretty good, reminds me of that Uncle Tupelo instrumental “Sandusky” meets John Fahey or somethin
“Vampire Weekend is garbage”You got that right. I’ve never understood the widespread adoration for these pretentious clowns. “Upper West Side Soweto.” Go fuck yourself.
Hell of a last few days for new music when the first new Vampire Weekend in 6 years isn’t even in my top 3 favorite things I’ve heard. I’m still digesting the fact that this Conor Oberst/Phoebe Bridgers project is an actual thing.
The random new one-off Florence and the Machine single is also excellent, and should satisfy those who wanted more arena boppers off the last album:
“Conor Oberst was a welcome guest on Phoebe Bridgers’ Stranger In The Alps, his rugged, emotive rasp adding a compelling texture to Bridgers’ ghostly vocals. But there’s a thicker thread connecting the two—”Yeah… they doin’ it!
Ain’t not one of them can hold a candle to the musical genius of Gene Pitney, man.
Um…I was expecting something different reading the headline.
William Tyler, great album.