These days, Buzzcocks are Steve Diggle and a couple of blokes. It was foolish to expect anything from their new album in 2022 - but Sonics In The Soul (★★★½) is a pleasant surprise. Do not come here expecting "What Do I Get?" or "Orgasm Addict", and you will be rewarded with the infectious charm of downtempo rock songs like "You've Changed Everything Now" and "Nothingless World". An even stronger comeback, however, came by way of House Of Love whose latest LP, A State of Grace (★★★½), is solid all the way through. Twelve jangly, driving rock songs with real hooks. Best of all is the insidious, sinister "Sweet Loser" that opens the album.
Still, there is nothing quite like the resurgence of Afghan Whigs whose three recent albums (four, if you count Greg Dulli's Random Desire - which you should) are easily their best work ever. How Do You Burn? (★★★★) may not be as strong as 2014's Do To The Beast but what a well-written set of blistering rockers and slow-burning ballads. "Please, Baby, Please" is achingly pretty and that build-up of "Take Me There" is one of the most incredible things I've heard this month. Just clever songwriting all around.
Another incredible thing is how Tim Burgess recorded 90 minutes of music and had so little to say. Typical Music (★★★) features a whopping 22 songs that may all be good but that never, not even for a second, fail to remind you why The Charlatans were one of the most anemic bands of the 90s. Rather, I would pick The Pink Album (★★★½) by Unloved as my double album of the month. Again, 22 songs (including a guest appearance from Jarvis Cocker) - but this time infused with great vibes and real personality. Soulful, mysterious stuff that evokes the nocturnal atmosphere of the Roadhouse bar in Twin Peaks. I wanted to give it a higher rating but this is a little too self-indulgent.
Suede just keep coming back, and you will not hear me complain. Autofiction (★★★½) has a classic opener, the soaring "She Still Leads Me On", and while nothing else comes close to that anthemic chorus, Brett Anderson is in top form and this is another fine addition to their storied back catalogue. Speaking of back catalogues, how about Pixies? Is Frank Black pissing all over those late 80s / early 90s classics? I do not quite believe he is, but Doggerel (★★★) does not convince. It is catchy and likeable - but remember how Black used to write those genius pop melodies with a sick twist? Well, the melodies have gotten a little too obvious and the twist has lost most of its edge.
The only edge on the new album by Yeah Yeah Yeahs that I can find is those irresistible booming synths that burst through the speakers now and then and make you think that Cool It Down (★★★) is better than it really is. It is not. A good album, and I admire the short length, but it does not feel like the band had a lot to say here. Karen O can sing, granted, but we knew that already. Finally, Björk's unexpected new album Fossora (n/a) is her best since Vespertine. I have never been a big fan - but I found this album not just ugly, dissonant and cold, but also endlessly intriguing and (sometimes) emotionally powerful. "Ovule" and "Allow" are the highlights. I still refuse to rate her, though. Sorry.
P.S. I'm always left frustrated by Lambchop's albums. Understatement can sometimes be overwhelming.
