Despite good recent proof from Queens of the Stone Age, an acoustic album, especially a live one, can be a risky proposition for a band so set in heavy rock ways. What Amyl and the Sniffers lose in theoretical edge from their acoustic set here is swapped for an earnest and authentic feeling, with many songs taking on more melancholy and folky grunge as a result of the tonal shift. “Hertz” has a punchy rasp to it, with Amy Taylor’s borderline croaking here feeling like someone who’s gone through this road of trying to get out a few dozen times, and wants this one to work out. With the political intro removing any confusion on the reading of the track, “Jerkin’” feels like the most exciting campfire jam you have ever been to, especially with the lo-fi burnout on this recording really adding to this song the most. While a few songs get lost in the mix as they try to find their footing, “Snakes” feels like it was born in its dark, rustic tones, almost as if it were wrong to amplify it to begin with. The choral swoons on “Bag of Cocaine” make it feel the most ripped from a folk tradition, with the whole singalong quality of it just making you grin from ear to ear, wanting to learn it to play with your own friends.
With a classic runway beat and production, Carly Rae Jepsen is mixing nostalgia and a push to keep moving forward on “Motivation.” Taking the reflective look back as a way to celebrate everything that drives her to keep growing and getting bigger, the track is a unique mix of flavours. The verses dip between coy in a playful way, and occasionally a little dry on their delivery in spots. It does lack a dynamic range to make the choruses pop in the way Jepsen’s choruses usually do, which is weird given the number of hooks here. That said, there are enough little gems in the mix and the melodies that you won’t be underserved for great musical moments.
By merging a lot of traditional sounds from different backgrounds into one sound, Elephant Stone creates a sound that’s wholly there’s while calling to South Asian musical themes, but also those of Montreal’s recent indie rock past. The result is a relaxing trip through streets you remember, but streets that have been completely reshaped till you can only see the bones of what you once knew. There’s a feeling of 2010s indie pop glory in the synths and glowing guitars of “Here Comes the Rising Sun” that Elephant Stone quickly broadens with their psychedelic twist, resulting in something that feels equal parts nostalgic and exploratory all at once. The retro-glam and vintage rock-and-roll throwback on “Everything Evil” is thrown into a whole other dimension by the twisted effects here, resulting in a track that feels like it’s pulling from acts of yesteryear while being very much embedded in the psychedelia of the now. The descending hooks of “Fascists Killed Yer Rock’N’ Roll” makes for a menacing crawl of sitar-like hooks, brooding heavy rock charges, and a stomping drum line, for a track that sounds like nothing else. “I Got A Pill” has a hilariously calming quality, especially given its title, as it slow-drops you into a drip by letting its euphoria lure you into a much trippier back half.
It’s weird to imagine we live in a world where Rebecca Black’s pop is subverting modern tropes and blending genres into a glossy house wash, but it’s truly a testament to the power of artistic reinvention and using a brand to keep your name in people’s ears. And good for her! “Michael.” blends some Stacey Q-esque production, 90s house tones, and a modern workout pop flow with smooth sonic blurring to create a track that feels like waves crashing over your body. There’s a bit of Nu Shooz in there too, amidst a very specific era of late 80s, early 90s pop sounds that make the track a hazy wonder to hear.
After a lengthy hiatus due to solo projects and drama with former members, Alabama Shakes have returned to remind us why their music has been sorely missed in the modern pop landscape. Picking up right where they left off, but also taking a few massive steps forward, this is a mission statement that a band long thought asleep is ready to hit the ground running again. The melding of tender grooves with the airy flute runs gives “Tea Time” a soothing yet guttural power, often dazzling while hitting you on a body level. You feel that soul power kicking harder on “Another Life,” with Brittany Howard’s iconic way to run from a high to hefty low-end growl letting this symphonically enhanced track feel like a trip through space. The blend of vintage pop love and powerful guitar lines on “Garden,” makes for a track you feel romance and pain from, with the whole track glowing and fading at a moment’s notice. There’s so much fun playing with expectations on “I Feel Hope Coming,” as even the intro makes you feel like it’s going in a completely different direction. But as the track swerves between a starry, galactic love ballad and a more girthy rhythm-driven underbelly of a track, there’s a lot of subtle detailing to make it richer with each relisten.
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