Oddly enough, I actually did go to an Interpol concert once - this was in Germany several years ago, and a friend asked me to. The concert was surprisingly good. They played Turn On The Bright Lights in its entirety, and I had to succumb to the fact that if you could get over the voice of Paul Banks and the highly derivative sound, the songs were hard to deny. However, this was a club, the bastards were two hours late and my legs were completely gone. Which is why I am very critical of their recent output. That, and the fact that the songs from this year's The Other Side of Make-Believe (★★½) lack any semblance of guts.
Which is not something you can accuse Viagra Boys of. Guts is what these Swedish guys get off on. Guts mixed with wild saxophones and visceral grooves are spewed all over Cave World (★★★½). To me, they sound like a better version of Parquet Courts - even if I really want them to take a completely left turn with their next album. The sort of left turn Jack White seems to be incapable of. Ballads or rockers, you just know exactly what to expect from him. Entering Heaven Alive (★★★), his second album this year, is mostly ballads. It is professional and well-written - but the songwriting oomph is never really there. Despite, and I know this is going to sound insane, "A Madman from Manhattan" sounds too much like "Born To Be Adored" by Momus. Just not as good.
Another one who has released two albums this year is Robert Pollard (obviously). I really should stop listening to all these new Guided by Voices records - perhaps it is a disease of some kind. Be that as it may, Tremblers and Goggles by Rank (★★★½) is a very good album. I am fully aware that this statement is completely meaningless, but there you go. I know this, though: the power pop of "Alex Bell" is further proof of Pollard's deranged genius and a guarantee that I will be back next time.
Similarly, I keep looking out for whatever it is that Kevin Barnes has done of late. The horrendously titled Freeway Lucifer f>ck f^ck f>ck (★★★) is nothing you have not heard from of Montreal before. Whimsical lyrics ('Phoebe fakes orgasms nobody hears'), quirky song titles and melodies that can either be unexceptional (two thirds of "Blab Sabbath Lathe of Maiden") or totally irresistible (last third of "Blab Sabbath Lathe of Maiden"). Another good indie pop album was released by Canada's Metric. Formentera (★★★) is drenched in synths and late-night vibes, and it is a very seductive sound. Too bad the endlessly intriguing ten-minute opener "Doomscroller" towers well above the rest of the album.
However, the sound that spoke to me in the most intimate way this month was definitely that of Linda Hoover whose lost album I Mean To Shine (★★★★) has finally been released. The album, recorded in 1970 with Steely Dan, is all original material plus a great cover of The Band's "In A Station". I Mean to Shine just sounds timeless and soothing, and while some songs are more memorable than others, when she hits it ("Autumn", title song) - she hits it as hard as Joni Mitchell and Carole King. Also, I Mean to Shine reveals a new depth with each listen, and I am fully prepared to overrate it slightly.
P.S. Also, the third song on the new album by Beyoncé has 24 songwriters and 7 producers. I'm not making any judgement - just stating the fact.
