So Don’t Stop Trying, Promise Me
The 2019 Top 10 List

I have a lot of thoughts about Star Wars.

I won’t go into them here, but suffice it to say that I truly hated The Rise of Skywalker, and the more I think about it the angrier and sadder I am about it. One of the reviews I read noted that the film was “made in bad faith,” and I think that hits at the center of my problems with it. The film was clearly designed as a repudiation of Rian Johnson and anyone who appreciated the directions he tried to take Star Wars, and with such petty and cowardly motivations at its center, it couldn’t help but fail. It was also lazy and stupid to boot.

I guess getting kicked in the face by Star Wars was something of a fitting end to a year I cannot wait to see the other side of. The music of 2019 was one of the few bright spots, getting me through more than one rough patch, so let’s concentrate on that, shall we? In fact, let’s celebrate the very best of the best of 2019, the music that stirred my soul even as the world outside was battering it.

As with most years in which the worthy musical selections were plentiful, the following list reflects my taste more than it would in a year with clear standouts. Check the lists around the internet and you’ll see no clear consensus for 2019. Of course, my own list has more than one entry on it that didn’t make anyone’s list, as far as I can see, which I’m used to. I’m surprised the album at the top didn’t get more traction, but that’s how it goes, I guess.

It’s also no surprise that this list is a little bleaker, a little sadder than others you may find. While some prefer to use happier music to set their moods (and certainly the album at number four this year helped me with that), I have always found honest sad music to be the best salve. Much of this list is about finding hope in dark places, about sinking below the surface and seeking out whatever light can break through.

In short, these are the songs that helped me get through 2019. Here we go.

#10. Coyote Kid, The Skeleton Man.

I admit some trepidation when I heard that Minneapolis favorite Marah in the Mainsail had changed their name to the more pedestrian Coyote Kid. Thankfully their big, wild sound hasn’t diminished in the slightest. The new name signals a shift in their storytelling – The Skeleton Man is the first chapter in a post-apocalyptic dystopian western full of new characters and twisty plot developments. The music still bristles with a go-for-broke energy. Like the best conceptual pieces, songs like “Strange Days” transcend their contexts to provide scream-along anthems for a year of confusion and discord. The Skeleton Man provides a clean slate for a band that feels like it’s just getting started. Listen here.

#9. Bat for Lashes, Lost Girls.

Speaking of transcending conceptual contexts, here is Natasha Khan’s brilliant tribute to the supernatural films of the 1980s. The title’s reference to The Lost Boys makes Khan’s inspiration clear, and she fully immerses herself here in the sounds of the era she’s celebrating. Lost Girls is heaven for fans of old-school synth-pop and Khan feels fully in her element in a way she hasn’t for a few records now. And this newfound comfort gives us wonderful songs like “The Hunger” and “Safe Tonight” and, finally, with “Mountains,” one of the year’s finest odes to loneliness and loss. Khan’s been great for a long time, and Lost Girls is one of her best.

#8. Over the Rhine, Love and Revelation.

Married couple Karin Bergquist and Linford Detwiler have been plying their trade for 30 years, and they still know how to open a doorway right to my heart. Love and Revelation is a brief record with a lot of magic to it. These are songs of fighting through isolation and sadness to find peace, and their simple settings keep the focus on Bergquist’s sublime voice. (I’m not sure why she’s not universally considered one of our finest singers, but in my house she is.) As if songs like “Given Road” and “Broken Angels” were not gorgeous enough, the pair offers up a perfect benediction with “May God Love You (Like You’ve Never Been Loved),” simply one of the most beautiful songs of grace I have ever heard. May they keep this up for another three decades.

#7. Peter Mulvey, There Is Another World.

Mulvey has always been a poet (despite his misgivings about poets in general), but never more so than here. Written during a harsh winter in a midwestern small town, There Is Another World provides sketches of isolation and natural beauty as Mulvey contemplates changing his life. These brief acoustic pieces rest in a complex soundscape that adds depth and dimension, and connects these songs into a single 33-minute thought. The result is the most transporting and affecting album of Mulvey’s career, one that sounds like 2019 in ways I cannot even describe.

#6. Bryan Scary, Birds.

I waited four years for progressive pop wunderkind Bryan Scary to finish Birds, and it was worth every second. As promised, this effort is a more folksy and less manic one, but that doesn’t mean the songs are any less brilliant. Scary draws on decades of folk-pop here, from Fairport Convention to 10cc to Supertramp, and each song feels like he labored on it for all four years. If you have even a passing interest in classic pop sounds, masterpieces like “Seagull” and “Quick, Wendy, Wake the Sparrow” will feel like someone speaking your secret language. This is an album that moves effortlessly from the down-home acoustics of “Royal Soil” to the absolute insanity of “Loon on the Lake,” and Scary makes it all look as natural as, well, birds flying.

#5. Coldplay, Everyday Life.

The more I listen to Everyday Life, the more I think it is Coldplay’s best album. It is certainly their most artistically restless, mixing together musicians and genres from across the world as a metaphorical statement about unity, and the band seems to have taken every detour possible away from the sound they are best known for. At first this record sounds scattered, like sixteen songs in search of a vision, but keep listening and it starts to make perfect sense. And then it starts to sound like magic. I love that Coldplay chooses to be this weird, to jump from the gospel of “Broken” to the jazz nightmare of “Arabesque” to the doo-wop of “Cry Cry Baby,” and then to sum it all up with a title track that rises above its simple lyrics to feel like an earnest cry for togetherness. I love this album, and it’s only this far down the list because the next four are so wonderful.

#4. Lizzo, Cuz I Love You.

We all needed some encouragement during 2019, and thank God, here was Lizzo preaching and living self-love and self-care with an exuberant joy and infectious confidence. This would all be enough to make me like and admire her, but she went and made one of the best pop records I’ve heard in years as well. Cuz I Love You is just a powerhouse, one great song after another come to lift your spirits. “Soulmate” was basically my jam for most of the year, and “Water Me” played backup. Virtually every song on Cuz I Love You bursts with melodic exuberance, powered by the irrepressible personality of Lizzo herself. She’s an absolute superstar, and her record is absolutely superb.

#3. Nick Cave and the Bad Seeds, Ghosteen.

This one could not be more different from the album before it in this list. A 68-minute meditation on loss, Ghosteen finds Nick Cave working through the death of his teenage son, taking us on a journey of grief that is almost too much to bear. I cannot adequately describe what it is like to listen to this album straight through. It’s an emotionally devastating trip, one in which Cave finds his usual methods of storytelling out of his reach, unable to help him. And then he closes this album with a story, one about the omnipresence of loss, that shows him finding his footing again, however weakly. Ghosteen is a masterwork, one I cannot listen to very often, but one that speaks to me every time I do.

#2. Keane, Cause and Effect.

Keane’s long-awaited return was always high on my list of anticipated albums this year. What I didn’t expect was that their comeback album would be a sad yet hopeful song cycle about Tim Rice-Oxley’s divorce, one that dissects that ugly period in his life as openly and bluntly as Noah Baumbach’s Marriage Story does. I was not expecting a Keane album to make me cry, or to hit me as fully and powerfully as this one did. These songs don’t rise with the same youthful fervor as Keane’s classic material, but they’re more thoughtful, more considered than any they’ve given us. The heart of the album lies in deeply autobiographical pieces like “Thread” and “I’m Not Leaving,” and Tom Chaplin sings his angelic heart out, telling his dear friend’s stories as if they were his own. Even the bonus track “New Golden Age” is a stunner, one of my favorite songs of the year. I don’t know what this means for Keane’s long-term future, but this album won my heart even more with each revisit. I hope they make more. I’m satisfied even if they don’t.

If you thought that was an idiosyncratic choice, my pick for the best album of 2019 will be a real surprise.

#1. Amanda Palmer, There Will Be No Intermission.

She could have called it There Will Be No Competition. I remain stunned and surprised that this record came and went with virtually no fanfare. To me it’s the most moving, extraordinary ride of the year. It takes 78 minutes to listen to this one, and getting from one end to the other is emotionally draining like few other records I know. It’s also beautifully uplifting in strange and perfect ways, confessional yet universal, tackling big topics and diving deep inside one woman’s experience. That Palmer wraps all of this together into a cohesive and beautiful whole is nothing short of artistic wizardry.

It’s a rare artist who can begin an album with ten minutes of herself at a piano and still draw you in effortlessly. “The Ride” is one of my favorite things from this year, and it tells you what kind of uncompromising journey you are in for. Palmer guides you through a wildly produced alarm bell song about global warming (“Drowning in the Sound”), a heartfelt reflection on a beloved author and her impact (“Judy Blume”), a long, ukulele-fueled, anguished cry for grace (“Bigger on the Inside”), and a stunning story-song about her failures as a parent and how she takes strength from them (“A Mother’s Confession”). Along the way she gives us “Voicemail for Jill,” the most empathetic song about abortion I have ever encountered.

And through it all she looks around at this broken, hateful, pain-filled world and she tells us what she sees. It’s not always easy to hear it, from the sinking feeling of permanent loss detailed in “The Thing About Things” to the boy who writes her after his rape in “Bigger on the Inside.” That boy asks her how she keeps fighting, and I think much of There Will Be No Intermission is her answer. The hope here is hard-won, because the agony is unflinching. But it’s love and empathy and the belief that we are all struggling, and we are all worthy. That’s what this album is about.

This record also revels in the artistic freedom that only crowdfunding can offer someone like Palmer. No label would have released this as is, and any tampering with it would have sapped some of its magic away. Every time I have listened to There Will Be No Intermission, I have come away grateful that it exists in all its messy glory, exactly the way its author intended. It’s a perfectly imperfect thing, a hard and incisive listen, an album that thrilled and moved and exhausted me like no other this year. It is exactly the right one to represent 2019 for me, exactly the right one to sit atop this list. I love it dearly, and I couldn’t imagine this year without it.

That’ll do, pig. Next week is Fifty Second Week, and then I’m taking at least a week off as we head into 2020. Have a wonderful holiday, everyone, and thank you for reading.

See you in line Tuesday morning… and to all a good night.

Also-Rans and Never-Weres
Great Albums That Didn't Quite Make the Top 10 List

By the time we reconvene on Christmas Eve, I will have seen The Rise of Skywalker.

Oddly, I don’t feel much about it at all. I’m marginally excited, mainly because I expect this thing will look and sound like Star Wars, and I always appreciate that. I would never pass up the chance to hear John Williams’ final Star Wars score, either. But I don’t care about it the same way I cared about the original trilogy, or even the prequels. The story of Star Wars was complete for me in 2005, and these bonus films haven’t filled me with the same joy.

That said, I did adore The Last Jedi for actually saying something new with Star Wars. It was a film that took aim at the things holding the franchise back – the Skywalker family, the Jedi order, the fans of around my age who refuse to let Star Wars grow. So of course it was roundly hated, and every early notice I have seen of this ninth and final film tells me that it veers right back to safe nostalgia, trampling the lessons of The Last Jedi as it goes. But we will see.

More on that next week, I expect. We’re not here to talk Star Wars, we’re here to talk about the end of 2019. I’m writing this, as usual, from my mother’s home in Massachusetts on my extended holiday break, and I’m enjoying the opportunity to take stock of the year. Personally, it was a terrible one, and I end it a lot less happy than I have been in a long time. But thankfully the music of 2019 was pretty damn good, and that’s what we come to praise, not bury, this week.

As longtime readers know, I compile a top 10 list every year, and I adhere to a few rules when I do it. Only new full-length studio albums consisting of mostly new material released between Jan. 1 and Dec. 31 are eligible. That means no live albums, no greatest-hits collections, no covers records, no albums of re-recordings and no reissues are eligible. Which means there are plenty of pretty splendid releases each year that are disqualified out of the gate.

I’d only like to mention a few of those this year, but there were many. Perhaps the most painful omission for me is With Friends from the Orchestra, the 19th Marillion album. It cannot appear in the top 10 list because it’s a revisit – the band re-recorded nine of its best songs with strings and horns. But I wish I could include it, because this album brought a new dimension to their work, even for me as a longtime fan. Including both “This Strange Engine” and “Ocean Cloud” (totaling 34 minutes between them) was a gift, and I love all of these new versions at least as much as their original counterparts, and some of them more.

I also wish I could laud Interpreting the Masters Vol. 2 by the Bird and the Bee as one of the year’s best. It’s a wild left turn for this synth-pop duo, taking on the early Van Halen oeuvre, and they reinvent these songs as if it were as easy as breathing. Their pulsing take on “Ain’t Talkin’ Bout Love” is one of the coolest things I heard this year, and it’s just one highlight on a record full of them. It’s so much fun.

It would be lovely to include Marc Cohn and the Blind Boys of Alabama on the top 10 list. I listened to Work to Do more than almost anything else this year. It’s an absolute delight. It’s also three new songs and seven live recordings, so I couldn’t make it fit the rules. But trust me that this thing is wonderful, particularly the long and gorgeous take on “Silver Thunderbird.” I deeply hope this record and tour has revitalized Cohn and that we hear from him again very soon.

This was also a tremendous year for reissue box sets, and I only want to mention a couple. I will probably delve further into the Frank Zappa estate’s amazing year, but there were four (count them – four) killer sets from Zappa this year, including the new Hot Rats Sessions six-CD monster that hits next week. All told we got more than 18 hours of archival Zappa goodness in 2019, and I very much enjoyed diving through it all.

But the standout has to be Prince, whose estate released what I hope is the first in a comprehensive set of boxes of classic material. This one celebrates his 1982 masterwork 1999 with a remastered version of the album, two discs of unheard rarities, a disc of alternate versions and two full live shows. This is the way it should be done, and while I wonder whether Prince would have wanted us to hear most of this, I’m happy to have it. This set is revelatory, and hopefully serves as the blueprint (purpleprint?) for future reissues.

Which brings us to the also-rans, the records that didn’t quite make the top 10. I have quite a few this time – since there was such a bounty this year, the final 10 selections reflect my personal taste a lot more than in years with fewer choices. That means your favorite of the year might have ended up here, in the runners-up list, but that’s OK. I wouldn’t quibble with anyone who claims any of the below as favorites. My list is just my favorites. Your mileage may vary.

Anyway, let’s begin. BT is another artist who had a hell of a year, giving us three new studio albums. I’ve only heard two of them, since the third comes out next week. But of the two, his collaboration with singer Christian Burns as All Hail the Silence knocked me out. This is a straight-up synth-pop homage to Depeche Mode and Erasure, and it’s an absolute delight. “English Town” is one of my favorite things of the year, and I remain grateful that I was turned on to BT back in the ‘90s. He’s been a fun artist to watch.

Jenny Lewis made a swell new solo record with On the Line, tackling some dark material with bright melodies. Same can be said of both halves of The Civil Wars, John Paul White and Joy Williams, who impressed on their respective solo albums. Joe Jackson returned with one of his very best, a proggy pop monster called Fool, which shows that this cranky old man still has it even after 40 years in the business.

I owe Jeremy Krommendyk for getting me to listen to French metal masters Alcest – their new one, Spiritual Instinct, is a beast, but a fragile and beautiful one. On the other end of the spectrum (though not really) is ambient duo Hammock, who completed their recent trilogy with the peaceful, beautiful Silencia. These two records feel like different sides of the same coin, both bands interested in creating the most gorgeous music they can, in their own ways.

And then there’s Devin Townsend, who has been an under-the-radar genius for decades now. He seemed to take a leap forward with Empath, a record that threw all of his many genre experiments and influences into a blender and presented the mixture without concession or apology. It’s heavy, it’s proggy, it’s quirky, it flies by without giving you a moment to catch your breath. It’s the ultimate Devin Townsend album, and it came close to the list this year.

But it didn’t quite get there. And neither did these last six selections, which I would call the number elevens. In an alternate universe quite like this one, any of these records could be on the list proper. I love all of these records, and if you want to argue for their inclusion, I would not put up a fight.

In no particular order, then. Brittany Howard took a step forward out of Alabama Shakes to make a strange and glorious solo record called Jaime. Virtually none of it sounds like what you’d expect from Howard, and that makes me excited for her future efforts. David Mead’s Cobra Pumps sounds exactly like you’d expect from him – it’s ten short, rocking, immaculately crafted pop tunes, delivered with style.

English band Foals hit us with a double album in two parts, called Everything Not Saved Will Be Lost. With a more clockwork first half and a more live-band, raucous second half, Foals showed off all sides of their math-y sound to great effect. Fellow Brits Elbow returned with one of their very best records, Giants of All Sizes, and while there’s nothing surprising here, it’s all splendid stuff.

One of my favorite returns of the year was Pedro the Lion, roaring back after ten years of leader David Bazan’s solo career. Phoenix is about the titular city, but also about rising from the ashes, and it’s a well-considered return to a sound and a subject matter I thought he’d left behind. And finally, there is Leonard Cohen, whose first posthumous album, Thanks for the Dance, overcomes the odds to feel like a perfect capper to an extraordinary career.

That’s what I have for you. Next week we’ll dive into the 2019 top 10 list, and I’ll probably have some words about Star Wars. Until then, I plan on enjoying my vacation. Here’s hoping you all get some well-deserved time off with family and friends. Talk to you on Christmas Eve.

See you in line Tuesday morning.

Tis the Season
New Holiday Songs for the End of the Year

It’s beginning to look a lot like… well, autumn, to be honest.

But we’re only two weeks away from Christmas, which means this year is racing to a close. As you may know, I have a personal philosophy about Christmas music – that it should only be played between the day after Thanksgiving and Christmas Day. Thanksgiving was 12 days ago, and it’s been non-stop holiday joy around Casa de Salles. I have a lot of perennial favorites, and I’ve been joyously cycling through them.

I also had the thrill of seeing Over the Rhine’s Christmas show this year in an intimate venue in Chicago, and that was wonderful. The set was made up of songs from the band’s three holiday records, and some of the best tunes from their new record, Love and Revelation. Linford Detwiler joked during the show that they’d invented a new genre: the reality Christmas song. And it’s true. After a difficult and painful year, fake cheer would not have gone down quite as well as these hard-won tales of hope peeking through the darkness. It was exactly the mood I needed.

That’s not to say that the holly jolly tunes aren’t working for me this year. But I’ve had to rely on my old standbys, because 2019 just didn’t come through with the new Christmas albums. That’s not to say there haven’t been any – we wouldn’t be here discussing it if there were none – but they are few. In fact, for new Christmas records that I added to my collection this year, there are only two. (No, I didn’t buy John Legend’s record again just to get the newly updated “Baby It’s Cold Outside.”)

But the two I bought are great, so let’s talk about them. First is Sara Groves, one of my favorite singer/songwriters. I rarely think of her when listing my favorites, but I’ve never heard anything from her that I haven’t loved. That includes her previous Christmas album, the glorious O Holy Night, from 2008. That album has been such a part of my Christmases for so many years that I almost didn’t want a follow-up, for fear of disappointment.

I shouldn’t have worried. Groves is just delightful, and her second Christmas album, Joy of Every Longing Heart, is gorgeous. Its seven carols and two originals are all impeccably arranged, and Groves’ warm voice still feels like an old friend. She rewrites the melody of “O Come O Come Emmanuel,” a bold move in any case, but doubly so with one of my favorite carols. Except she nails it, giving this most lovely of laments a new spin that actually works. She sticks close to the originals otherwise, mixing the traditional (“Come Thou Long Expected Jesus”) with the whimsical (“Winter Wonderland”).

And there at track five, she gives us a Sara Groves classic in the form of “We Wait,” a superb cry out into the darkness with a clever piano figure and a sweet chorus. Her other original, “Just Like They Said,” is similarly lovely, a first-person account of the birth of Jesus from a forgotten bystander. That’s one thing Groves does very well: she finds a person who hasn’t been heard and gives that person a voice. Joy of Every Longing Heart is missing a novelty tune as great as “Toy Packaging,” but otherwise is a terrific second Christmas record from a tremendous talent.

Eric Owyoung also has a history of Christmas music. His one-man project, Future of Forestry, issued three EPs in a series called Advent between 2010 and 2013, and they’re terrific. Owyoung plays epic pop music and sings it with an expansive voice. His work is heavily orchestrated, soaring, room-filling stuff, and his fourth Christmas record, Light Has Come, is no exception.

This is basically a fourth volume in the Advent series in all but name. It contains four originals and three carols, all of which are performed in classic Future of Forestry style. There’s a fragile beauty to these songs, no matter how big the arrangements get. Owyoung’s own songs here are sweet and poppy – “We Are Home” is a particularly pretty one, though the title track is likely my favorite.

The carols are where my heart lies, though. Owyoung also does “Come Thou Long Expected Jesus,” and it’s great, but “I Wonder as I Wander” surpasses it. I’ve always loved this song, and Owyoung’s version of it gives me goosebumps. Future of Forestry is independent and obscure, and Owyoung deserves a wider audience. Check him out at

And that’s it. Well, not quite. I did buy one other holiday record, but it celebrates a different holiday. I don’t know where I first heard about Hanukkah+, but I’m glad I did. This is a collection of Jewish artists singing mostly original songs about Hanukkah, and it’s a total delight. Much of this is delivered with a wry sense of humor, as evidenced by the first two tracks: Jack Black bellowing out the traditional “Oh Hanukkah” and Adam Green (of the Moldy Peaches) smirking his way through “Dreidels of Fire,” a song that offers up the central miracle of Hanukkah with a chuckle: “How the hell do you explain that shizz?”

That’s not to say this record is not a serious reflection. Haim does a swell job with Leonard Cohen’s immortal “If It Be Your Will,” for instance, and Craig Wedren, formally of Shudder to Think, closes things out beautifully with his own “Sanctuary.” Others split the difference: the Flaming Lips and Loudon Wainwright III give us songs that are right in line with their catalogs, and the Watkins Family Hour (here just Sean and Sara Watkins) zip through a fun instrumental called “Hanukkah Dance.”

Hanukkah+ is a lot of fun, and even though I am sure there are jokes I don’t get, I’m drawn in by the humor and the genuine affection these artists have for their tradition. I’m more than happy to add this collection to my holiday listening. It’s helped me enjoy the end of what has been a downer of a year. May your holidays be bright, whatever your tradition, and may the music of the season help you find light in the darkness.

Next week, the honorables and also-rans from the year.

See you in line Tuesday morning.

The Last Gasp of 2019
Two Big Albums Mark the End of our New Music Year

2019 is officially out of gas.

I don’t mean that as a criticism in any way. Every year runs out of gas around this time, when it comes to new music. We’ve seen the last big new music Friday of the year, and it’s one I’d been anticipating for some time. Last week I chose to concentrate on Coldplay, but this week – my last straight-up review column of 2019 – will take a look at the other big ones from Nov. 22.

But here’s a quick look at what else to expect through the end of the year. Last week gave us a live version of The Soft Bulletin from the Flaming Lips, and a massive re-release box set for Prince’s brilliant 1999 album. (I’ll be digging into this over the coming days.) This week will see the release of The Decalogue, a piano piece by Sufjan Stevens performed by Timo Andres, as well as the new album from one half of The Who. And December 13 will bring us the debut from Canadian supergroup Anyway Gang and a live record from Gary Numan. All interesting, but nothing that I expect to change the shape of the year.

The two I have on tap this week were bright spots in my new release calendar, though, records that could have rewritten my top 10 list. This is always a possibility this far into the year, and given how much enjoyment I am getting out of (and how many words I spent on) the new Coldplay record, you can imagine that this is a case in point. Could this happen again, this late into the year?

Enough preamble for you? Fair enough. The first of our contestants this week is Beck, whose new Hyperspace is his 14th album. Hands up if you heard “Loser” in 1994 and thought, “Now there’s a guy who will stick around for 25 years and one day have 14 albums to his name.” I certainly didn’t, but Beck Hansen has proven himself a remarkably versatile and interesting artist. His catalog has a number of ups and downs, as you’d expect from someone who takes as many risks as he does, but he’s been on a hot streak lately with the gorgeous Morning Phase and Colors, his more mature take on “party Beck.”

I wish I could say that Hyperspace keeps that streak alive, but it’s pretty forgettable, alas. This is, for some reason, Beck’s radio pop album, full of pretty average programmed beats and autotuned vocals and cliched lyrics. I tried to make a case that Beck is satirizing this style, the way he took on sex-funk on Midnite Vultures, but I can’t. This is just a boring stab at music that never sounds like a good fit for him.

Hyperspace was largely produced by Pharrell Williams, and it’s tempting to lay the blame at his feet. The half-hearted hip-hop of “Chemical,” for instance, sounds like something Williams would have conjured up for someone more steeped in this genre, and Beck gamely takes it on, but never seems comfortable. But then, I think the same about “See Through,” a truly awful bit of pseudo-club-soul, and that one’s produced by Greg Kurstin.

No, I think this is mainly Beck’s doing – he’s taking another risky step sideways, and this one didn’t quite pay off. There are certainly songs I like, most notably “Saw Lightning,” which picks up the pace like nothing else here. The closing mini-epic “Everlasting Nothing” is pretty decent folksy Beck too, although by that point I have been ready to turn this off, every time. I know in a year or two he’ll be back with something that sounds nothing like this, and hopefully that one will work better for me. As it is, I am putting Hyperspace on the “interesting failures” pile.

I was a lot more worried about our other big-deal release of the week, Leonard Cohen’s Thanks for the Dance. Cohen was, to me, one of the finest and most compelling songwriters who ever lived, and I’m still mourning him even though he died three years ago. The final album of his life, You Want It Darker, came out 19 days before his death, and it was the perfect capstone to a peerless catalog. The songs on Darker found Cohen facing death without much hope for something better on the other side, and it was unflinching and powerful stuff.

Did we need another album after that one? Before I heard Thanks for the Dance, I would have said no. I’m always wary of these posthumous affairs – I feel like if Cohen wanted us to hear this, or to consider this part of his oeuvre, he probably would have said so. I braced myself for a collection of scraps, of recorded conversations set to music, of unfortunate outtakes that only serve to diminish Cohen’s legacy. I am overjoyed to report that Thanks for the Dance is none of those things. It’s quite wonderful, and I hesitate to find out more about how it was made, lest its spell be broken.

Dance was produced by Cohen’s son Adam, and he enlisted an army of brilliant musicians, including Beck, Daniel Lanois, Patrick Leonard, Matt Chamberlain and Damien Rice to create the musical accompaniment. Cohen is only credited with lyrics here (except on “The Hills,” which he wrote in its entirety), which gives the impression that these tracks were recorded as poems, and Cohen’s low, rumbly voice sticks mainly to speak-singing here, as he’s done for some time.

And man, it’s so good to hear that voice again. It sounds like truth to me, like wisdom, especially in these later albums where he is gazing into the abyss and reporting back to us what he sees. All of these lyrics fit in nicely with his usual themes, and none of them seem unfinished to me. (Maybe “Puppets,” the one here that seems a little facile.) It’s as dark as midnight, and that tone is set by the first track, “Happens to the Heart.” By the time it ends with this couplet – “I was handy with a rifle, my father’s 303, I fought for something final, not the right to disagree” – you’re swept up in Cohen’s imagery, and his despair.

The music here is perfect. I feared a tendency to over-egg these pieces, to try for larger orchestration in an attempt to make them more impactful. I shouldn’t have worried. Adam Cohen has a lot of experience working with his father’s words, and he has crafted a subtle, at times nearly inaudible, bed for them to lie on. The erotic “The Night of Santiago” is beautiful, ten musicians coming together to make something so quiet, so focused on the lyric, that I can imagine Leonard nodding in approval. That’s the feeling throughout, that the lyric is the most important thing here – when Sharon Robinson adds her voice to “It’s Torn,” she slips into the background, supporting Cohen beautifully.

My fears, it seems, were unwarranted.Thanks for the Dance is a lovely final bow from Cohen, aided by a team of artists who all clearly revere him and his work. The closing track, “Listen to the Hummingbird,” could not be more sublime: “Listen to the hummingbird whose wings you cannot see, listen to the hummingbird, don’t listen to me,” Cohen says as a benediction, and I have no trouble imagining him sanctioning these as his final words. It’s just the touch of spirituality and humor that made him a legend. I’m grateful for one last chance to hear from him, and I’m afraid I’ll be disobeying his final exhortation as often as I can.

That about wraps it up for 2019, and my schedule for the final four weeks is as follows. On Dec. 10 I’ll dig into some Christmas music from the year, on Dec. 17 I’ll list my honorable mentions and ineligible-but-worthy releases, and on Christmas Eve I will post my top 10 list. That leaves New Year’s Eve for Fifty Second Week, and then we’re into 2020. Thanks to all who have come with me on this journey. Excited to dive into year twenty.

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Hold Tight for Everyday Life
Coldplay's Remarkable New Album

Why do I like Coldplay?

It’s a question I get a lot, honestly, and stating it right up front here might make this review seem defensive. But I think it’s important to explore why this is a question people feel compelled to ask. Hating on Coldplay has become an international pastime. They’re one of the biggest bands in the world, and I expect they always will be. At times they seem palpably uncomfortable with that role, but at other times they’re dueting with Rhianna and Beyonce and writing crowd-pleasing stadium-fillers. And as long as they keep doing that, I think they’ll be around for the haters to hate.

Disliking Coldplay is the expected default for someone like me with Opinions About Music, though, and I think that’s a shame. The style Coldplay is best known for is universality – they write accessible, hummable songs about vaguely emotional things, and it’s unsurprising that so many have taken those songs into their hearts. Their early hits, like “Yellow” and “The Scientist” and “Fix You,” are sweeping things with strong undercurrents, and those are harder to write than people think.

But I know I’m supposed to see through such manipulations and not be taken in by them, or so I’m told. This, first off, is nonsense – music is to be enjoyed, and if “Fix You” works for me (and it does), I’m happy to have my emotions manipulated by it. I was surprised when scanning my archives recently that I predicted “Fix You” would be a massive hit. Obvious in retrospect, but not necessarily at the time. It worked for me then, and it works for me now.

And if that were all Coldplay had to offer – lighter-worthy popular balladry – I would still feel OK liking them. I may not evangelize for them as much as I do, but I’d feel fine about it. No, I get the question at the top of this column because I seem to like Coldplay more than their best-known material would indicate that I should, and it surprises a lot of people. Almost always I can count on those people not having ventured much beyond the hits, and not having heard a Coldplay album since probably 2005.

Why do I like Coldplay? Because they’re weird. Honestly, they are. Starting with 2008’s Viva La Vida, or Death and All His Friends, they embarked on a decade-plus of artistic restlessness that left their “Yellow” sound in the dust. That restlessness has defined them, and is at the heart of their new record, Everyday Life, which I’ll talk about in a moment. But I have been greatly anticipating this new album, and if asked why, I would say the reason is the four records before it, on which this band explored so many different sounds and ideas that they became unpredictable. And there is no more joyous word for me as a music fan than unpredictable.

I don’t want to oversell them. They’re certainly not David Bowie levels of chameleonic. But they haven’t sounded like you’d expect them to for more than 10 years, and they show no signs of wanting to sound like you’d expect them to. They’re weird. And the bottom line for me is that Coldplay, as one of the biggest bands in the world, doesn’t have to be this weird. They could keep churning out the same material, or at least revisit their old sound now and again. But they don’t, and the fact that they choose to keep pushing forward like this makes them worth paying attention to.

I’ve even come to appreciate 2015’s A Head Full of Dreams, which I dismissed as their big pop move, and not a patch on its somber, surprising predecessor, Ghost Stories. This is all still true, but on Head Full of Dreams the band aims for the rafters in completely different ways than they had done before. It stands alone in their catalog, a gleaming and modern-sounding ball of positivity that is meticulously constructed and painstakingly produced. Some of the material still makes me want to hurl it against a wall, especially in the record’s treacly back half, but none of it sounds like Coldplay is supposed to, and I think that’s an interesting quality for an album so overtly interested in being massively popular.

Everyday Life has no interest in popularity. That’s the first fascinating thing about it, and I find the whole thing fascinating. This record is how an impossibly popular band makes an intimate and personal piece of work, I think, and that it is awkward and messy and unsure of how to proceed only adds to that sense. It’s being touted as a double album, even though it manifestly is not: it’s 53 minutes long and comes packaged on a single disc. Its songs are broken up into two loose suites, Sunrise and Sunset, but it works best when you listen to it as a single entity. The band appears on the cover for the first time, but they’re de-emphasized, inserted into a faded photo of guitarist Jonny Buckland’s great-grandfather’s band from 1919.

All of this feels designed to wrong-foot you, to make you uncertain of what to expect, and the album manages that same trick for its whole running time. At first Everyday Life will feel scattered, unfinished, messy. It feels like an entire album made from the interludes and stranger tracks from previous Coldplay efforts. Songs drift in and out, wrapping up before you can get a handle on them. Guest musicians – and there are dozens – take the spotlight, never staying for long, just handing you off to the next sparkling performance. The guiding principle here seems to be to never sound like Coldplay, and they pull it off, but none of these 16 tracks sound anything like any of the others either.

Everyday Life is the most restless album from a band I love specifically for their restlessness. I spent my first listen through in a state of astonishment, not only that the band would create this record, but that Coldplay Inc. would marshal its forces behind releasing it. Despite the double-album fanfare, this is one of the band’s smallest and most intimate things – it’s moody and stark, and several of these tracks seem to feature Chris Martin on his own, accompanied by one instrument as if caught practicing in the corner of the studio. There are no songs here that sound like hits, no songs that 2005 me would predict to take the world by storm.

Instead we have the sound of one of the world’s biggest bands creating something just for themselves. This is their most topical and pointed record – and you know things are bad in the world when even Coldplay is commenting on them – and the whole thing feels like a response to the wave of hatred sweeping over us. Because they are Coldplay, their response is love, but on the way there they get more specific than they ever have about what they are up against. “Trouble in Town” is a foreboding piece of work about racism, and includes a recording of Philadelphia police officer Philip Nace harassing two African-American men on the street. “Guns” doesn’t top two minutes, but it takes aim at the NRA and the proliferation of firearms, Martin proclaiming that “everyone’s gone fucking crazy.”

In that light, the album’s plethora of sounds from around the world feels like a plea for unity. There are lines in Arabic and French, chants in Zulu, and musicians and singers from all over the globe lending their skills to this. There are gospel choirs and children’s choirs, and spoken poetry from Persia and Nigeria. In the end, the message is simple: we are all human beings, and we are all children of God, whatever name you choose to give God. The spirituality here is as all-encompassing as the humanity, which is as all-encompassing as the music.

The weak link, of course, remains Martin’s lyrics, which are often frustratingly banal. “Daddy” is a prime example of a song that is both deeply touching and cringe-worthy – it’s written from the point of view of Martin’s children, missing him when he is gone, so the child-like lyrics work on one level, but are embarrassing on another. “Orphans” tackles the Syrian refugee crisis, and Martin’s stated aim was to depict these refugees as people just like us, hoping to get back to some sense of normalcy. That the best way he could come up with to capture this is “I want to know when I can go back and get drunk with my friends” is prime Chris Martin.

But most of the time, his naked sentimentality works in this record’s favor. Sparkling acoustic pieces like “Eko” and “Old Friends” fit their simple lyrics nicely. The gospel pieces “Broken” and “When I Need a Friend” feel open and vulnerable, and when the band enlists Femi Kuti’s extraordinary horn section for the astounding highlight “Arabesque,” Martin’s words about how we share the same blood seem worthy of the power behind them. (Seriously, this song, with its two-minute saxophone solo, is amazing.)

Best of all, when the band brings it all together at the end with their most Coldplay-esque material, Martin’s naked emotional writing does the trick nicely. After an album of turmoil, the title track comes gliding in like a minor classic, soaring without erupting into cheesiness. I probably shouldn’t admit how affected I am whenever Martin repeats “you got to keep dancing when the lights go out,” but man, it really works for me. The song is a marvel of restraint, keeping things quiet even when the band’s instincts might send them into orbit. Even the ending hallelujahs could have been so much bigger, and I’m grateful that they’re not. The ending is graceful instead of overpowering.

I’d never suggest that Everyday Life is a perfect record. In fact, it’s the imperfections I like most about it. For a band so polished, so methodical to deliver something so messy and personal is a gift. I never know what kind of album I’m going to get from this band, and this one was a genuine surprise, one I am still diving into. You won’t find anything like “Clocks” here, but you will find a band pushing itself to create something outside their own boundaries, something that speaks love into the world with as much boldness as they can muster. That’s Everyday Life, and I love it immensely.

So why do I like Coldplay? Listen to this record. All the reasons are here.

Next week, Beck and Leonard Cohen, and then we dive into the end-of-the-year festivities. Follow Tuesday Morning 3 A.M. on Facebook at

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Hatfield, Winger and a Three-Hour Heavy Metal Opera
The 2019 WTF Awards

It’s getting close to the end of the year, which means it’s time to start thinking about the best of 2019. But it’s also time to think about the weirdest of 2019, the albums that just by their very existence would make any reasonable person say “WTF?”

That’s right, it’s time for the annual WTF Awards here at Tuesday Morning 3 A.M. This is our yearly celebration of the records that I just cannot believe are real things, but which, against all laws of God and man, actually were made and released. To be clear, receiving a WTF Award doesn’t mean that an album is bad, or that it shouldn’t exist. It’s just an acknowledgement of the utter improbability of its existence. In fact, the more improbable an album is, the harder the artist probably had to fight to bring it into being, so respect is due.

Anyway, we have three such awards to give out this time, and I’ll go in ascending order of improbability. The first one may not even seem that improbable, considering it’s the second in a series: it’s Juliana Hatfield Sings the Police. Hatfield is, of course, one of our least appreciated songwriters – her catalog, beginning in the ‘90s with the Juliana Hatfield Three and continuing through a prolific solo career, is full of gems, and her voice is instantly recognizable to ‘90s kids like me. She’s generally been pretty serious, so when she issued an album of Olivia Newton-John covers last year, it was a pleasant surprise.

With Sings the Police, she makes these covers records a going concern. (Much like The Bird and the Bee did with their Van Halen tribute this year.) I did not know to expect a second volume, but had I known, I would have guessed probably 30 or 40 other artists for her to honor before Sting and his law-enforcing compatriots. (Much like the Bird and the Bee, actually, and the more I think about it, that record also deserves a WTF Award.) I love the Police, though, and was very much looking forward to hearing this.

I only wish I loved it. Hatfield’s Newton-John record was a loving pastiche, perfectly calibrated to straddle the line between tribute and send-up. Sings the Police, in contrast, sounds like something she did in a week in her basement. She’s the only musician on most of these tracks, and she’s contented herself with demo-quality production. The Police had Stewart Copeland, one of the best drummers of his era, so I was surprised to hear that Hatfield had elected to go with extremely basic bongos-in-a-box drum patterns for most of this thing. There’s a cheap and dirty sloppiness to this effort that I can’t get past, sadly.

Some of this is fun. I do enjoy hearing Hatfield sing these songs, harmonizing with herself and easily hitting notes Sting hasn’t been able to for a while. I like what she did with “Canary in a Coalmine,” and I appreciate her selection of “Landlord,” a pretty well forgotten b-side. But she takes an axe to some of my favorites here, and it makes me sad. “Next to You” is one of the best early Police numbers, and here it’s slowed down to match a $5 drum pattern, all the energy sucked out of it. “Roxanne” is worse, those same drums propping up a bass-less electric guitar smear, and that’s followed by a depressingly basic take on “Every Breath You Take.”

Things pick up near the end when Hatfield welcomes Boston-area drummer Chris Anzalone to the mix – “Hole in My Life” actually sounds like something she put effort into – but it feels a bit late by then. I wanted to love this, since I adore both Hatfield and the Police, but only found a few tracks worth revisiting. If she’d put as much into this as she did her Newton-John album, I would have been much happier with it.

But it’s barely worthy of a raised eyebrow in comparison to my next WTF Award. For this one we need to pull in Kip Winger. You remember Kip – he was the leader of ‘80s hair-proggers Winger, immortalized forever on Beavis and Butthead. They were always better than their reputation, and Kip’s solo career has been one to watch for me – he’s revealed a true talent for composition and arrangement, producing a small yet superb catalog of progressive pop-rock that can stand with anything in the genre.

Lately, though, Kip’s been trying to branch out. He now goes by C.F. Kip Winger, the C.F. standing for Charles Frederick. In 2016 he gave us an orchestral album called Conversations with Nijinsky that was nominated for a Grammy and reached the top of the classical charts. Having basically conquered that realm, he’s now turned his eye toward Broadway. His new project is Get Jack, a legit two-hour musical, and he’s produced a full-cast concept album of the whole thing.

Yes, you read that right: Get Jack is a two-hour musical written by Kip Winger. It gets weirder. The play is about Jack the Ripper, or more accurately, about the ghosts of Jack the Ripper’s victims, who come back to life to exact revenge on him. Listening to this was such a weird experience. You cannot claim that Winger and his lyricist, Damien Gray, haven’t fully committed to this thing. Get Jack is a restless, constantly moving slab of orchestral rock, marrying Kip’s big guitars with the City of Prague Philharmonic Orchestra. It’s big, it’s confident, it’s complex. I’d like to see it on stage.

As a musical, this is more like Les Miserables than Dear Evan Hansen, which is to its credit. I don’t hear any pop hits here, nor do I spot anything that would betray this as the work of the guy who wrote “Seventeen.” The orchestrations are subtle, leaving much of the theatricality to Levi Kreis, who plays the Player (basically the narrator). The canonical five victims – Annie Chapman, Catherine Eddowes, Mary Jane Kelly, Mary Ann “Polly” Nichols and Elizabeth Stride – are all well cast. Winger spends the first act introducing the victims one by one in the afterlife, and the second dramatizing their vengeance, and as a structure it works really well.

I didn’t expect to like this as much as I do. The cover is cheap-looking, and the very idea of a two-hour Jack the Ripper musical written by Kip Winger seems to promise more wrong-footedness than this delivers. This is actually quite good – dark, vicious, full of twists and turns. As a former theater kid I know the rhythms of Broadway shows, and Winger has captured them. I admit I shook my head at first, not quite able to believe that Winger had devoted years to this idea, but he’s really pulled it off.

I feel the same way about our infinitely stranger final entry, Therion’s Beloved Antichrist. Therion is one of those bands I have a tough time accepting as real anyway. They’re an operatic metal band, and I don’t just mean operatic in the Judas Priest sense. I mean all of their vocalists (and there are many) are actual opera singers, and for decades they have been mining the Venn diagram overlap between Dream Theater and Wagner. I’m consistently surprised by the way mastermind Christofer Johnsson mixes those genres, showing no clear preference for either one.

Therion’s catalog is vast, so I wouldn’t suggest starting with Beloved Antichrist. But in a lot of ways, this is the record they’ve been building toward their entire career. Even more than their usual material, this is a rock opera. It’s an astonishing three hours long, divided into three acts, and it incorporates more than 20 lead singers and a full choir. It’s based on Vladimir Soloviev’s A Short Tale of the Antichrist, and over an incredible 46 songs, it creates its own universe. There is literally nothing else that sounds like this, for better or for worse. (This only works if you don’t giggle – it’s very serious, despite how monolithically silly the sound can be.)

What’s the story? Well, in a nutshell, there’s this guy who tries to kill himself because the world is terrible, and the devil appears to him, offering to make him the antichrist. He accepts and uses his powers to make the world a better place – he eliminates all suffering and brings peace to the world. But then it’s revealed that he’s the antichrist, a truth that separates the world into factions – one side wants to depose him because he’s a demon, and the other side is willing to accept a demon if their lives improve. (Sound familiar?) In the end there’s a big war and everyone dies.

Holy hell, right? This is all dramatized with operatic voices over big guitars and synth orchestrations – if you can imagine Pavarotti fronting Trans-Siberian Orchestra, you’re part of the way there. It also takes forever to get through, and you’ll feel exhausted on the other end of it. Is it worth it? I think Therion’s style is unique for a reason, but if you can buy into what they’re doing, there’s a lot to admire here. There are no throwaway songs here – everything was slaved over. There were no moments here where I felt like the band were not absolutely committed to this bizarre thing they had created.

It must be interesting to have accomplished a major achievement like this in a field of one, though. Johnsson’s only competition is himself. I have no idea who, besides me, might have even bought this thing. I can imagine working for years on this and releasing it to the vast indifference of the world must be disheartening. But then, I would think Johnsson is used to that by now, and if he were going to give up, he would have long before taking on a three-hour opera. This is what he does, and here he does it over a wider canvas than he ever has.

I don’t know whether to recommend this. If you think you would enjoy three hours of heavy metal opera (and to be clear, it is opera, not operatic metal), then you probably already have this. I can’t imagine I am increasing Therion’s audience by mentioning them here. But if three hours of this doesn’t deserve a WTF Award, I don’t know what does. It’s the kind of record these awards were made for.

Next week, the last big new music Friday of the year. Follow Tuesday Morning 3 A.M. on Facebook at

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Waiting for Peace to Come
The Powerful, Painful New Album from Nick Cave

I am not emotionally prepared to talk about Nick Cave’s Ghosteen.

As a way of easing into it, I will say this. Every year I hope that there will be some kind of fourth-quarter miracle, an album that arrives late in the year and surprises me, rewriting my top 10 list in the process. I hope for this even in great years, because I love to be blindsided by brilliant music. This hasn’t been a great year, but it’s been a good one, and I would have had a perfectly respectable end-of-the-year summary even if nothing worthy happened to arrive between now and year’s end.

But here is Ghosteen, and after only a couple spins, I cannot imagine I would write a 2019 top 10 list without it. It’s a harrowing masterpiece, the kind of record spoken about in hushed whispers. I feel like it’s already revered in certain corners, already being evangelized as an extraordinarily moving experience unlike anything else this year, and it deserves every accolade it’s getting. If one of the year’s more celebrated releases can be considered underrated, though, I think Ghosteen might be.

And if it is, it’s because this is a difficult album to listen to, despite how absolutely gorgeous it is. In 2015, Cave’s teenage son Arthur fell to his death, and this entire record is about that loss. I need to gird myself before listening, because I know once the ethereal synths of “Spinning Song” begin, I will be in for the long haul, and these 68 minutes are almost impossibly heart-wrenching. I will not be able to summarize or encapsulate the grief that pours out of this thing, nor should I be able to. That grief feels larger than the known universe, heavier than the weight of the world. It’s too big for Cave to even process in these 11 songs – he picks at it until it bleeds, but he cannot find his way over it.

It’s almost as if he knew going in that he would not be able to even name this grief, let alone shape it here. Cave is a born storyteller – his career has found him relating myths and tales from various traditions, giving them new resonance. “Spinning Song” begins with a fairy tale about Elvis, one that collapses before our ears, as if to say that even stories will not heal this pain. He ends this song not with a lesson, but with a mantra, one that he repeats throughout Ghosteen: “Peace will come in time.” But it will not come easy.

From here Cave uses metaphors – a returning train, Jesus (who makes several appearances here) – to symbolize Cave’s overpowering loss and his yearning for a reunion with his son. Much of the language here, though, is remarkably straightforward, and even when Cave is describing a vision of children climbing up to the sun, as he does on the glorious “Sun Forest,” his voice shakes with emotion. This is an album screaming for connection, for simple human understanding, and even though it is richly layered, it feels stark and bare. Drums are only used sparingly – the sound is mainly conjured with airy synths and chiming guitars, filling the higher spaces above Cave’s baritone voice.

For most of this album, Cave describes his efforts to be with his son again, in his mind. “Galleon Ship” is about searching for the other side, sailing into the unknown. (The choral arrangement here is so beautiful.) One track later is “Ghosteen Speaks,” and I can’t hear this any other way than as Arthur Cave (the ghost teen) speaking to his father. “I am beside you, look for me, I am within you, you are within me…” These songs feel like dreams, like rowing out onto some imagined, endless sea, feeling helpless and alone, and if that isn’t a metaphor for grief, I don’t know what is.

Ghosteen is divided into two halves, and Cave has described the first half (eight short songs) as the children and the second half (two long songs and a spoken word piece) as their parents. It’s an interesting way to put it, especially on an album about a father and his lost son, but it’s apt. The lengthier pieces on the second disc use much of the same imagery as the songs on disc one, but they add context and depth. The title track describes the little ghost, dancing in Cave’s hand then flitting off, and he concludes that “there’s nothing wrong with loving something you can’t hold in your hand.” It’s 50/50 whether I cry whenever he sings this line. The music here is sweeping and grand, contrasting with the tiny pulsing nugget of grief at the song’s center.

“Fireflies,” the connecting piece, is similarly emotionally raw: “We are photons released from a dying star, we are fireflies a child has trapped in a jar, and everything is as distant as the stars, I am here and you are where you are…” This piece uses the vastness of the universe as a way of expressing the enormity of loss, the way that the separation of death feels like unimaginable distance. “A star is just the memory of a star,” Cave says, and it’s true: the light we see is millions of years old, and the stars that generated it may not even exist anymore, and certainly are not where we see them.

It’s powerful stuff, and nothing here is more powerful than “Hollywood,” the 14-minute closing track. This one catches Cave on a long drive, still waiting for the peace he longed for in the first song. He speaks to his son: “Your dreams were your greatest part, I carry them in my heart.” Cave has rarely been as direct as he is here, giving us a scene from his own life, and it’s like reading his diary. It’s almost a relief when he decides to end this record with a tale, a story drawn from the Buddhist tradition – it’s as if he searched the entire album for a story like this one to tell, to comfort himself.

The story is of a woman named Kisa Gotami, whose child grows deathly ill. She visits the Buddha, who tells her that he can heal her child if she brings him a mustard seed. But she must obtain this seed from a home in which no one has died. She asks at every home in the village, but cannot find one that has not been touched by death. And so her child dies. “Everybody’s losing someone,” Cave sums up, and ends the album where it began: “I’m just waiting now for peace to come.”

And I’m hollowed out. It’s the most devastating conclusion – grief is universal, everyone has experienced death and loss, and that is the only comfort. We can wait for our loved ones to return, we can steer that galleon ship into the sun looking for them, but it won’t bring them back. All we can do is ride it through and wait for peace of mind. I cannot imagine what a difficult lesson this has been for Cave to learn. Just the sliver of emotion he lets through on this album is enough to do me in.

And look, this is all dancing about architecture. I’m describing a musical depiction of grief, and not even coming close to giving you an idea what it is like to hear this album, to take it in and sit with it. It’s an incredibly difficult and soul-enriching experience. I don’t know that I would wish it on anyone, but if you believe that music can connect us even in our darkest places, this album will prove it. We’ll be talking about Ghosteen again in a few weeks, when 2019 draws to a close. It’s an extraordinary thing, an album I wish Cave never had the inspiration to make, but one that towers over much of what I have heard this year. It hurts, and it leaves you hurting, and it’s beautiful.

Next week, the 2019 WTF Awards. Follow Tuesday Morning 3 A.M. on Facebook at

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Remember, Remember
These Five I Heard in November

There’s no time like early November to talk about the Early November.

TEN is a band I have never quite loved, but I have always had huge affection for. Ace Enders won my heart back in 2006 with his band’s second album, a full-on three-CD concept piece that held together a lot better than it had any right to. It also broke up the band for a bit, while Enders focused on solo projects like his I Can Make a Mess Like Nobody’s Business. For a short while I chalked this band up as a cautionary tale about burning too brightly too quickly.

But then, lo and behold, the Early November reunited in 2011 and have been going strong ever since. Their new one, Lilac, is their fourth since their return, and it continues at the same pace as the last three. That means it doesn’t nearly scale the heights of that triple-CD effort, but at this point it might be a good idea to stop comparing the more mature Ace Enders with his more ambitious younger self. What’s here is certainly delightful enough.

So what is here? Another 11 melodic rock songs delivered with sweetness and a looking-back-along-the-road perspective. Early November songs are little meditations on the distances between us, and Lilac is no exception. It’s front-loaded with winners: “Perfect Sphere (Bubble)” starts with pianos and harmonies, Enders and his bandmates singing “I will always be there, to keep you up in the air.” “My Weakness” is classic TEN, surging forward into a memorable chorus, and “Ave Maria” should please anyone who has followed this band from its early days.

Lilacdoes kind of blur together as it goes along, but Enders has grown a lot more interesting as he’s grown older, and even the deepest cuts here, like the tricky “I Dissolve,” have something to recommend them. (In this case, it’s the soaring wordless chorus.) There aren’t any bad songs here, and closer “The Lilac” is as pretty a piece as Enders has given us, even with the out-of-tune trumpet solo. I’m always glad to hear more from Ace Enders, in whatever incarnation, but there’s something special about Early November albums. I can’t really put my finger on it, but Lilac has it, whatever it is. It’s a lovely little record.

* * * * *

I can’t listen to the Early November without thinking about my friend Heather, who loves them. She’s one of those fantastic people I should keep in better contact with. I met her when she interned at the newspaper I worked for, and now she lives on the west coast and is working every day to save the world. Last time I connected with her, she let me know that her partner, Ethan Buckner, had finished and released a new EP under the name The Minnesota Child.

So I did what any friend would do: I went to Ethan’s website and listened. It took all of 30 seconds to buy the new EP, and I’ve been listening pretty obsessively ever since. The other day I found myself randomly singing the chorus of “Love is Everything” in my head, and that’s when I knew I had to write about this.

Buckner is the Minnesota Child, but Fireflies is his first EP with a band and full production. He enlisted Jeff Saltzman, who worked with the Killers during their heyday, to produce this thing, and together they’ve adorned these tunes with strings, synths, a choir and several guitar solos. It’s to their credit that it never sounds like too much. I can hear the solo acoustic origins of each of these songs, which means the focus here remains on the melodies and Buckner’s beautiful voice.

The title track kicks things off, and if you can get through the first 30 seconds of Buckner’s voice and guitar without wanting to own it, you’re better than I am. The strings kick in before long, and the song takes flight. It’s a terrific introduction to Buckner and what he does, but stick around, because “Home” is even better. Buckner sings the opening lines over a space-y organ, but by the time he’s done, he’s joined by a choir and is wailing away on lead guitar, and he’s delivered a song you want to wrap yourself in.

All five of these songs are this good, and it’s hard for me to pick a favorite. If forced to, at gunpoint, I would point people to the closer, that song I got stuck in my head. It’s hard to make a song called “Love is Everything” without it sounding trite or twee, but this one manages nicely. It’s a simple mission statement of a tune with an ascending-then-descending melody line that I just adore, and some transporting electric guitar flourishes. This whole EP is really superb, and I’m grateful to have heard it. I’ll be following Buckner’s work from now on.

You can too, here:

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Shall we get heavier? OK.

A couple years ago I caught a pretty tremendous triple bill: headliner Between the Buried and Me, my once and future obsession The Dear Hunter, and a Norwegian band called Leprous. I’d never heard them before, but in preparation I picked up their fifth album, Malina. And I enjoyed it quite a bit, enough to track down their previous material and wait in anticipation for new stuff.

That new stuff is here – the sixth Leprous album is called Pitfalls, and it’s my favorite thing I’ve heard from them. I’m not quite sure how to describe this band. They remind me of Muse sometimes, with their heavy dance-prog edge, and with the massive (MASSIVE) vocals of leader Einar Solberg. He’s got that widescreen Jeff Buckley quality to his voice, and he never has any trouble leading the band’s sound, no matter how big it gets. At times he reminds me of Jimmy Gnecco, the highly underrated mastermind of Ours, and the band is often as dramatic as Gnecco’s too. (With a voice like that at the front, they kind of have to be.)

Pitfalls is more Solberg’s album than any other Leprous record before it. He wrote most of the songs on his own, and it’s his falsetto that takes center stage. Opener “Below” is a showcase for him, its chorus a feat of vocal acrobatics that washes over you like a tidal wave. The band steps into Radiohead territory more than once here, most notably on “Observe the Train,” but definitely kicks up the heaviness quotient enough times (like on the shimmering “By My Throne”) to keep the prog-metal tag.

The record stays in the same mode for probably too long – it’s only the passionate vocals that distinguish “At the Bottom” from the songs before it – but pulls off some magic tricks at the end. The noisy electronic shuffle “Foreigner” gives way to the 11-minute “The Sky is Red,” a true powerhouse and the best thing here. It closes Pitfalls on an ominous note, and hopefully sets the stage for more full-band explosions like it on future records. If Pitfalls has a (ahem) pitfall, it’s that it remains coiled for too long before striking. It’s a tense affair, and it will leave you in awe of Solberg’s singular talent, if nothing else.

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Even heavier? Can do.

I will admit to you that I never heard French band Alcest before last month. I can’t get to everything, of course, but the way my friend Jeremy talked up this band and their new record, Spiritual Instinct, well, I knew I had missed something special. I’m sure this is a no-brainer for anyone familiar with them, but I loved Spiritual Instinct and I will definitely be tracking down the rest of this band’s output. (And, apparently, the hundreds of side projects associated with leader Niege.)

Let’s get this out of the way first: Alcest sing in French. You will not care. I know enough rudimentary French to figure out some of what they’re saying – titles translate to “The Garden of Midnight” and “The Island of the Dead,” among others – and it’s generally metal-sounding stuff about isolation and dark souls and truthful mirrors. Again, you won’t care. It’s the sound that will knock you over. Alcest is considered a blackgaze band, and I’m not sure I know any others – they combine heavy-as-hell black metal, screams and all, with the atmospheres of shoegaze. I love both of those things, and intertwined like this, they make Spiritual Instinct sound almost impossibly enormous.

This is the kind of heavy that feels like tons of water pressing down on you, and floating you up at the same time. “Protection” is amazing, its thick walls of sound masking what is a genuinely gorgeous melodicism. There are harmonies all over this record, drowned in gigantic guitars – like the best shoegaze, it takes a couple listens to tease out all the elements, especially the prettier ones. But if you want a master class in what this is, try the nine-minute “L’ile des Morts.” It comes screaming out of the gate, but slowly unfolds into something quite beautiful.

Spiritual Instinct is a lot shorter than I expected – 41 minutes exactly – especially since I wanted to live in its world for hours. The closest analogue I can think of is Deafheaven, but Alcest is even more concerned with beauty. This is a powerful little record, a universe contained in less time than it takes to watch an episode of television, and I’m very much looking forward to spending more time with this band.

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Spiritual Instinct is the kind of massive, all-encompassing musical experience that you can’t really follow up with much. But lately, after its last strains have faded out, I’ve found a weird kind of solace in segueing into the new album from A Winged Victory for the Sullen.

It’s called The Undivided Five and it is only this duo’s third album in eight years. But like the last one, 2014’s Atomos, this was well worth the wait. Only Hammock makes more immersive ambient music, for my money. The Undivided Five takes its cues from Claude Debussy, particularly his piano works, and wraps its simple, big chords in strings and synthesizers, all processed and folded out of shape. This is music to float into orbit to, and it lifts my soul in ways I can’t express.

I know some people will spend the entirety of The Undivided Five (another surprisingly short record at 46 minutes) waiting for something to happen, and I understand that reaction. This is music you have to give yourself over to in order to enjoy it. You have to let the music direct your mood, not the other way around. I’m making it sound new-agey, and it’s in no way that – it’s wider than the sky, and more emotionally direct than anything you might meditate to. I’m in awe of the orchestral elements here. The strings on “Sullen Sonata” alone knock me flat.

In short, this record is beautiful, and worth the five years I waited for it. If I were able, this is the kind of music I would make all day and all night. It touches something deeper within me. It feels like a connection to something grander that I cannot describe. In a lot of ways, most music is aiming for this kind of transcendence. A Winged Victory for the Sullen gets there, every time, and my life is better for knowing and loving their work.

Next week, Nick Cave. Follow Tuesday Morning 3 A.M. on Facebook at

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We Feel It Is Our Duty
On Kanye, Marillion and the Difference Between Have To and Want To

This week is a classic case of feeling like I have to talk about one thing, but really wanting to talk about another.

There’s this weird sense of duty I still have about this column, some delusional idea that people look to tm3am to weigh in on the big records of the week. That was certainly the case when I wrote it for print, and people actually read it. I’d get actual letters and phone calls asking when I would review/opine on new records. That hasn’t happened for a long time with this online iteration, and yet I still feel like there are new albums each week I’m expected to say something about.

This week’s conversation piece is, of course, Jesus is King, Kanye West’s long-delayed gospel-rap record. And the more I thought about what to write about it, the more I realized I just don’t have anything interesting to say about it. West swears he has had an actual road-to-Damascus conversion experience, and he’s filled Jesus is King with straight-up gospel worship songs. Sonically it sounds like a Kanye record, but it’s more like an Imperials album in form and content.

Which is all fine. I enjoyed my quick spins through this record – the whole thing is only 27 minutes long, and most of the songs hover around the two-minute mark, so it’s an easy listen – but I didn’t find it revelatory. My favorite part, weirdly, is probably Kenny G’s isolated solo on “Use This Gospel,” although I am fascinated by the fact that West gets people like Pusha T to rap about faith here. West’s guests, by and large, have never expressed interest in matters of faith before, so hearing them trade rhymes about Jesus is strange.

I’ve been watching the reaction to Jesus is King, which has been more interesting than the record, but I still don’t have a lot to say about it. I have no idea if West has had a true encounter with the divine, whatever that may look like. I don’t know if Jesus is King is a publicity stunt or a genuine outpouring of faith. (I do find the verses about God showing off by giving Kanye a lot of money troublesome.) And I don’t imagine all of the long-lead think-pieces in the world will let us know what’s going on in his heart.

It also doesn’t matter a whole lot. What we have is a 27-minute foray into gospel rap, and it’s no throwaway – it’s clear West worked on this and made it the best he could. I’ve been off Kanye West for some time now, listening as he lost his way and made dreary, tossed-off records about himself. This one feels more tightly focused, as if turning to the language of gospel has taken the pressure off. Jesus is Kingis a good record, and whether it turns out to be a side-step or a new direction is something only Jesus knows.

But honestly, I don’t want to talk about Kanye. I’m really here to tell you about Marillion.

I know what you’re going to say. I talk about Marillion all the time. But it’s a very good example of what I’m trying to illustrate here. Kanye’s record is one everyone cares about, and I’m just not that interested in it. Marillion’s work captivates me completely, and almost no one I know hears what I hear in them. There’s nothing I can do about that, but I still plan to fill the final paragraphs of this column with my thoughts and impressions of their surprise new record, not because I feel like anyone’s expecting me to, but because I just can’t keep music that moves me this much to myself.

So, Marillion. I don’t know if anyone reading this needs an introduction to them – just search my archive for several instances of me waxing lyrical about them. They’re often lumped in with progressive rock bands, but that’s not really what they do. To me, Marillion conjures up magic and shapes it, and those shapes can stretch to three minutes or twenty. They’re equally adept at either one, and all sizes in between. Lately, those shapes have been more symphonic – their 18th album, Fuck Everyone and Run, was built around three extended multi-part compositions and included their first-ever collaboration with a string section.

The band has expanded that collaboration on their surprise 19th album. It shares a name with their current tour – Marillion With Friends from the Orchestra – and finds them augmenting nine of their older songs with strings, horns and flutes. This is the perfect time for such a retrospective, since their inimitable frontman Steve Hogarth is celebrating 30 years with the band. He’s 60 years old and his voice is somehow even more striking and supple now than it was in 1989. They’ve made 15 albums together, including this one, and With Friends is a lovely overview of those three decades.

And man, these new arrangements. These aren’t just decorations – the band has fully integrated the orchestral elements into these songs, so much so that the original versions are going to seem slightly lacking. Marillion has always been something of an orchestral band, with keyboardist Mark Kelly’s layers of sound widening their horizons at every turn, but here they perfectly balance their more ethereal and earthbound tendencies. The song selection is perfection, opening with one of my very favorites, the death and rebirth anthem “Estonia.” It’s a song I want played at my funeral, and now this is the version I would choose. When the strings play Kelly’s countermelody on the last chorus, I get chills.

Some of Marillion’s prettiest songs are made even more beautiful here, from the transcendent “Beyond You” to the dark, powerful “The Hollow Man.” I have always wanted to hear “Fantastic Place” with real strings – the synth strings on the original version can be overpowering, but these sound delightful, caressing the early part of the song and lifting the later part. Both “The Hollow Man” and “A Collection” are filled out from their spare original versions, and my sole complaint with this record is that the sweeter arrangement of the latter masks the creepiness of the lyrics.

But all complaints are washed away by the three massive centerpiece tunes here. I’m not sure why I wouldn’t have expected that extended workouts like “This Strange Engine” and “Ocean Cloud” would be here, but they are, and the new arrangements are utterly magnificent. “Engine” isn’t changed very much, just augmented with gorgeous strings and horns, but I will never get tired of hearing Hogarth give his all to the final minutes of this song. It’s essentially his musical autobiography in 16 minutes, and he somehow sounds even better here than he did 22 years ago when he laid down these vocals the first time.

“The Sky Above the Rain,” the emotional closer of 2012’s Sounds That Can’t be Made, benefits the most from the orchestra. The best part of this song has always been the “maybe they’ll talk” coda, and here it is completely different, fragile instead of soaring. It reframes the whole song, making it a new experience. And “Ocean Cloud,” well, I don’t even know what to say. It is my favorite Marillion song, an 18-minute masterpiece, and it’s somehow even more symphonic and powerful in this new iteration.

These are songs I know by heart, songs whose nuances live and breathe within me, and With Friends from the Orchestra somehow has me appreciating them anew, hearing them in fresh ways. This is, in 79 minutes, exactly what I love about this band, and is now the single disc I will hand out to people who are curious about them. After 38 years and 19 albums, Marillion can still surprise and delight me. That’s a rare thing, and even if no one else in my life ever loves them the way I do, they’ve enriched that life more than they will ever know. Which is why, even in the face of indifference, I can’t be silent about them.

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Next week, a roundup of several new releases in several genres. Follow Tuesday Morning 3 A.M. on Facebook at

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Delayed Gratification
Why Double Albums Should Just Stick Together

Yesterday Coldplay announced a new double album called Everyday Life.

I am, of course, girding myself for the ration of crap I will get just for admitting that I pay attention to Coldplay, let alone for being a fan. I’ve liked, to some degree, everything they’ve done, although they came closest to losing me with 2015’s pop letdown A Head Full of Dreams. But even that record had some interesting moments and choices, and you certainly can’t say that it sounds like Coldplay. Those who remember “Fix You” and “Clocks” and haven’t kept up since then will likely be surprised by the band’s last four records, should they bother to listen.

But anyway. Everyday Life is a double album, and the timing is fortuitous, because that’s exactly what I want to talk about this week. I have no idea why double albums double my interest in a band’s work, but they do. I have always been fascinated and drawn in by epics, by long works of art that require a significant investment to absorb. I have no interest in high fantasy fiction, but I have long been intrigued by Robert Jordan’s Wheel of Time series, just because it’s so long. What would the experience of reading the whole thing be like? Could I do it? Would it be worth it?

Same with double albums. I’m always surprised and elated when they exist, when a band or artist decides that they just have too much to say to fit onto one CD. I love marathon listens – I have, several times, made my way through the entirety of the Dear Hunter’s Acts saga in one long sitting – and each one that comes along reminds me that those pundits suggesting that we live in a singles-driven download world and the album is dying on the vine are just wrong.

I can’t say I love the recent trend of breaking double albums up and releasing them as separate discs, though. That was Coldplay’s rumored plan: an “experimental” album this year and more straightforward one next year. I applaud the decision to release both halves together in one package – the discs are separately labeled as Sunrise and Sunset– and not to make us wait. I’ve noticed a lot more two-volume sets recently, issued as separate albums months apart, and while I keep buying them, the experience is not as fulfilling for me as diving through a lengthy double album all at once.

But what, I wasn’t going to buy the new Foals album the day it came out? This British quartet is one of the most exciting and interesting bands I know of, and if they wanted me to buy one half of the 79-minute Everything Not Saved Will be Lost back in March, who am I to argue? Of course I bought it, and of course I heard it on repeat for days. It’s a great piece of work on its own, from the slow burn of “Exits” to the beautifully constructed 9/8 stomp of “On the Luna” to the pretty “I’m Done with the World (And It’s Done with Me).”

The first part certainly works on its own, but now that Everything Not Saved Will be Lost Part Two is here, two things have become clear: these records work better in tandem, and it’s obvious how and why they separated them. The first part is more moody, more groove-based, more keyboard-heavy. This second part is a guitar-fueled rock-band powerhouse, and from first moment to (nearly) last, it moves like a bullet train. It follows the same format as the first – an intro, eight songs and an interlude – but its character is almost entirely different.

I hesitate to say this, given how much I love the first part, but I like the second half better. It’s just more alive, more explosive, more instantly captivating. I’ve not heard a more driving set of songs in a row this year than the ones that open this record – after the tense intro of “Red Desert” we have “The Runner,” “Wash Off” and “Black Bull,” three extraordinary 100-mile-an-hour wonders, one after another. They lead into “Like Lightning,” which only slows things down marginally – this one should be a radio hit, though it won’t be, and on the heels of the screaming “Black Bull,” it does a great job of showing the band’s more melodic side. It’s like a Black Keys song done right.

The second half of this second half is just as great, if a mite less relentless. “Into the Surf,” teased on the first half, is a gorgeous piano ballad, and it leads into “Neptune,” the ten-minute closer. As the longest song in Foals’ catalog, this one of course had to be the finale, and it’s a crash-and-recede epic that feels like an extended mantra. It creates its own little world and lives in it for as long as it wants to. Weirdly, I think it works better as the final song of a 40-minute album than as the culmination of a 79-minute one, yet another reason to split these two up.

Still, I can’t help wondering what this might have sounded like had the band ignored the stylistic separation, mixed these tracks up and delivered an 80-minute double record all at once. I’m not sure how I would arrange it, but it’s a fun thought experiment. Everything Not Saved will be Lost is a tremendous piece of work, no matter how the band organized it. But while I wouldn’t want to sacrifice the hurtling-along feel of this second part, the moodier first part could have used some of this energy. Either way, you should check out both parts of this thing, as it’s one of the best Foals albums and one of my favorites of the year.

The Magpie Salute’s High Water is not one of my favorites of the year, and it’s a better example of the issue I have with this double-album-in-pieces approach. For those who haven’t been following the post-breakup saga of the Black Crowes, while singer Chris Robinson has been turning out album after album with his new band, the Chris Robinson Brotherhood, his guitar-playing brother Rich has been a bit quieter. The Magpie Salute is his new band with a couple Crowes stalwarts and former Sixpence None the Richer mastermind Matt Slocum on keys, and though they made a quiet entrance with their self-titled record in 2017, High Water is their true coming out party.

I was honestly pretty excited to hear that Robinson had amassed enough material to fill two discs. I think he’s the underrated Robinson brother, and his solo work (four albums and counting) has been solid. I also like the looseness of this new band, with Robinson and John Hogg trading off lead vocals. There’s an anything-goes quality to it that is appealing in an Exile on Main Street kind of way.

But man, did they just not have enough strong material to make a 95-minute record. I knew this would be a problem when the first half, last year’s High Water I, petered out before the end. I would have cut four sloppy, trad-bluesy tunes from that record, and I expected that there would be at least four solid songs on High Water II that could have taken their place, turning this into a perfectly respectable single-disc affair. Turns out I was right, but just barely.

High Water II is just kinda boring. It’s very ‘70s rock, very Rolling Stones, and if you’re into that more than I am, you may enjoy and appreciate what Robinson and the band have delivered here. I like “Gimme Something” quite a bit – it takes on the gospel overtones of a lot of the Crowes’ By Your Side – and I dig the slide guitars of “Mother Storm,” but this whole thing just blends together, none of these songs announcing themselves with any distinctiveness. I was hoping that Alison Krauss would inject some life into “Lost Boy,” but she’s barely audible. None of these songs break out of their traditional shells, and even within those shells, their choruses are surprisingly weak.

The record does end strong with the urgent “Doesn’t Really Matter” and the slinky “Where Is This Place,” two songs I’d probably save for the single-CD version of this thing. High Water II is absolutely a continuation of the first volume – you can trace just when the inspiration left these guys and they kept on trudging along anyway. So in that way, I definitely wish these 24 songs had been released all at once. Instead we have a decent first half and a much weaker second half that certainly doesn’t stand on its own. Selfishly, I wish I’d only had to shell out once for this material, instead of twice over two years. High Water as a whole is a bit of a slog – it isn’t terrible, but it isn’t worth the investment of time that a truly great double album rewards.

Next week, hopefully Marillion, but if not, we’ll have a few other options. Follow Tuesday Morning 3 A.M. on Facebook at

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a column by andre salles